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Audio Reference Manual

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1. D Track 1 All Audio events except for these three are selected 248 Opcode Systems Inc CHAPTER 22 Auditioning Audio 3 Select Do gt Mute gt Mute Seq amp Unmuting Audio Events Audio events Vision mutes the selected audio events To unmute audio events Muted audio events appear grayed out Select one or more currently muted in Vision audio events In this example we select two audio events that are currently muted as seen in Figure 22 2 fim Multi An Tr Rec wel Solo 3 Selected audio events ann Take 2 ae Take 2 Verse Take 2 ieee ibis Take 3 Verse Take 3 Take 3 Verse Take 3 TIT Pa strip crart A ET E ee y Figure 22 2 Muted Audio Events PES Muted audio events will not play back e when you play a sequence In the exam 1 a rg ple shown in Figure 22 2 only Line 1 TAKE 1 Line 2 TAKE 3 and Line 3 TAKE 2 will play Select Do gt Mute gt Unmute Seq amp Audio Events Vision unmutes the selected audio events Previously muted audio events are now unmuted Sequence D Tyack1 Grim M Multi an All Tr mern JETA Ee i eM 1 a Solo cal Audio 1 cee Verse Take 1 Verse Take 1 aeeai Take 1 rere Take 1 Saas m E Beanies Take 2 Verse Take 2 i Take 2 Wen lt Take 2 m m peon
2. Rec Source 36 18 8 2 Clip Record File Available Instrument E Input 1 AAAANANAANTINNN A O LongTime Fix Audio 1 Audio 5 a Input 2 PEEPEEE EEE rei LJ none Audio 6 a Input 3 DNDTonnnnnnnnng A D Cnone Audio 7 Donononnnnnnong n a meme me me ee 0O Q Audio Instruments amp Routings f S earme _telsisteree Owes sends Protes eos Instruments Audio 1 Out 1 2 e Audio 2 Out 1 2 Audio 3 Out 3 4 Audio 4 Out 3 4 i Audio S i Bice ee ee Audio 6 Audio 7 out 1 ice qa o ooofoocca ooojo con oc Audio 5 Figure 10 3 Typical audio recording setup Therefore when Input 1 is record enabled and the Thru mode is set to either On or Auto then e Thesignal present at Input 1 is heard through Output 5 6 If you want to change the outputs used to monitor the signal simply assign different outputs to Audio 5 or choose a different Audio Instrument e The monitored signal is affected by the console s volume and pan faders as well as by any Audio Sends plug ins or EQs that might be in use The recorded signal however is not affected by the console s volume pan sends plug ins or EQs it s recorded to your hard disk exactly as received Virtual Consoles Since Vision can route hardware inputs through its consoles you can monitor inputs without record enabling them For example for the scenario illustrated in Figure 1
3. Audio volume Markers Audio Pan Patches Send 1 Level Text type P Send 2 Level MIDI bisend 3 Level Automation send 4 Level Eq Band Parameter gt 6 Drag through the Strip Chart to draw automation events that change over time a a Figure 23 2 Draw Controller Events If this track contains multiple Instruments and it s the first automation event you ve entered into it you ll see a Set Instrument dialog box asking you to assign the new controller events to an Instrument If this is the case select an Instrument from the dialog box and click the OK button Thereafter when you draw data it will automatically get set to the Instrument initially named For more information on using the Strip Chart consult the MIDI Reference M anual If you want to change the Instrument you can use the List Window s Instrument pop up menu as discussed in Changing Automation Event Instrument Assignments pg 256 or you can select the event in the Strip Chart or List Window and choose Do gt Set Instrument The automation data you draw is also dis played in the List Window CREATING FADERS TO CONTROL VOLUME AND PAN You can control an Audio Instrument s volume and pan in real time by assigning faders to control them You can do this using either the Console or Faders Windows Vision amp Studio Vision Pro Audio Reference Manual 257 PART 6 Advanced Audio Techniques Us
4. Console 1 no plug in V Compressor mono Echo Flange Pan Y RDelay Y Resonator Y Reverb Ring Y SDelay fFILTER f INYL mono mono mono mono mono mono mono mono mono mono Y Compressor mono in stereo out V Echo mono in stereo out Flange mono in stereo out Y Pan mono in stereo out V RDelay mono in stereo out Y Resonator mono in stereo out V Reverb mono in stereo out V Ring mone in stereo out V SDelay mono in stereo out fFILTER mono in stereo out f INYL mono in stereo out While still holding the mouse button move the cursor over the desired plug in to highlight it Echo Pan U Pina 7 Release the mouse button no plug in V Compressor mono Flange Y RDelay Y Resonator Y Reverb mono y mono V Flange mono Y Pan mono V RDelay mono V Resonator mono V Reverb Dins Y Compressor mono in stereo out mono in steres out mono in stereo out mono in stereo out mono in stereo out mono in stereo out mono in stereo out Vision assigns the selected plug in to the console channel s Audio Instrument Cro no plug in l plug in The Audio Instrument in this channel uses the V Echo plug in 48 Opcode Systems Inc CHAPTER 7 Acadia Audio Channels in Consoles Removing Plug Ins To remove a plug in
5. 224 Opcode Systems Inc CHAPTER 20 Import Export Cornucopia AIFF 44100 Hz 16 bits Stereo 1 interleaved file clipping prevented iM Use EQs plug ins etc When this option is checked all EQs plug ins and bussing applied to the audio signal including all selected automation data will be included in the mixed file The popup menu to the right of this option determines which outputs will be included in the mix and any processing assigned to those outputs will be included These options are identical to the ones presented when using the DSP gt M ix com mand For detailed information see Mixing in Acadia Bounce to Disk pg 316 Export Audio Mix vs DSP gt Mix Although Vision s Export Audio Mix command and the DSP gt Mix command may seem similar at first they are actually quite different Specifically e Mix creates a file only in formats that Vision itself can play It is meant as an interim step in creating asequence because it replaces your sequence s Original audio events with the newly mixed event For details see Chapter 28 Mixing Digital Audio Bouncing e Export Audio Mix is capable of cre ating file formats that Vision cannot play directly It is meant to create a final audio mix for distribution via web CD or any other media It does not replace any existing files in your current sequence Exporting Individual Audio Events You can select indivi
6. Effect 1 Effect 2 Adjust the Send levels for each Audio Instrument If you want a channel s signal to be sent to the busses without being processed by its EQ or its own plug ins set the Pre Post button Pre Effect 1 Post 78 Effect 2 Pre 125 1 J no plug in Figure 10 2 Setting an Audio Send to Pre Creating a Submix Y ou can use busses and sends to create Submixes or groups within Vision For example assume you ve recorded three backup singers each on a different Audio Instrument M acella M aida and M arion In one of Vision s consoles assign three console channels to the three backup singers Use the volume faders in these three channels to mix the singers so that their voices blend together nicely Relative volumes set Analog L k Analog L F Analog L k Since we ll be using a stereo bus you can also use the pan faders for each channel to adjust the stereo field of the mix Once you are satisfied with the balance of the three voices you ll want that mix to work as a single unit within the context of the entire song To do so 76 Opcode Systems Inc CHAPTER 10 Acadia Bussing Routing amp Bouncing to Disk 2 Assign a bus to an undefined 5 From the Console Window console channel menu enable display of some In order to preserve the pan information plug ins and the EQ Gain for the individual audio tracks make sure fade
7. If the selected Audio Instrument is stereo and Link Pairs is not checked when you enable an input Vision will prompt you will the following dialog 26 Opcode Systems Inc CHAPTER 5 Acadia Recording Audio stereo When recording without Link Pairs the Instrument pop up should use a mono Audio Instrument f The recording instrument Audio 2 is Would you like to make Audio 2 mono Click Cancel to leave all Audio Instru ments stereo status untouched and return to the Record M onitor Click Don t M ake to leave all Audio Instruments stereo status untouched and proceed to the Save dialog Click M ake to make the selected Audio Instrument in this case Audio 2 mono and proceed to the save dialog If you choose Cancel or Don t M ake you should manually make the selected Audio Instrument mono or select another mono Audio Instrument for recording Use the Audio Recording Preference dialog to automate the naming of record files set their default folder location and specify whether individual takes are recorded into the same or separate audio files See Chapter 21 Advanced Recording Techniques for details Disabling a Record File You can disable audio recording by click ing the Record Enable Indicator again to turn it off This lets you record M IDI tracks without recording audio at the same time Once you ve assigned a record file to an input line you can toggle
8. Audio Events Figure 2 2 Audio events in the Graphic Window Vision can display audio events graphi cally as shown in Figure 2 2 Each audio event is a graphic representation of the actual audio waveform A PICTURE S WORTH This section graphically describes the relationship between audio files audio events Audio Instruments voices and outputs An Audio File contains the actual digital audio data used by Vision Vision files contain pointers to audio files These pointers are called audio events Vision can contain any number of audio events Audio File Figure 2 3 Audio events point to audio files Each audio event is assigned to an Audio Instrument Vision can use up to 128 Audio Instruments although this exam ple shows only three of them Audio Instruments Audio Events Figure 2 4 Audio Event 1 is assigned to Audio Instrument 1 Audio Event 2 is assigned to Audio Instrument 3 Opcode Systems Inc CHAPTER 2 Basic Terminology Each Audio Instrument is assigned to a hardware output Your audio hardware determines the number of outputs Audio Instruments Figure 2 5 Audio Instrument 1 is assigned to Output 1 Audio Instrument 3 is assigned to Output 2 Outputs In addition Vision assigns a playback voice to each Audio Instrument NOTE In DAE mode your audio hard ware determines the number of available voices the number of audio events that can
9. Opcode Manual Template Table of Contents CHAPTER 5 CHAPTER 6 CHAPTER 7 Anatomy of the Record M onitor WINKOW cccseesessssesseseesssreeeens 22 ES ge 992 BE re er ene en nee ee NR rn eee rere 24 Acadia Recording Audio 25 Recording Power User OVErViGW ccecssssessssessssresssresssreessteeess 25 Recordings Step By Stepen RA 26 Designate a Record File s ssssssssrsssrsrrrsrnsnrrrsrnssrrsnrrnsrnsnrrsrrnsrne 26 DISADIG a RECORG Fearan aoa aa 27 Set Record LevelS s ssssssrsssissrssesernsrnsrrnsrnsrrnrrnsrnsrrnennennsrnsennsnne 27 Assign an Audio INStrUMeEnt ccecccesssstesssseesssseesssresssteesenees 29 RECO A ACK rana E E A A see euhmane ss 29 Advanced Recording Techniques ss sssssssssssrrsrrssrrsnrrrsrrsnrrsrrnseras 31 SUCT EO RECOPA O cinniri A AN 31 Recording M ultiple TakeS sssesssssssrrsssssrrrsrrssrrsnrrrsrrserrsrrrserse 33 Recording Audio While M onitoring Existing Audio Events 33 Acadia Audio Instruments amp Routings Window 35 Setting the Number of Audio INStrUMENTS ssssssesisesrrrerrrrrrrrrerrrens 36 Voice Allocation and Audio Playback ss sssssesrrssrssnrsenrrnrrsnersnrrseras 37 Columns in the Audio Instruments amp Routings Window 37 SAVING Instrument SCCUDS cccccecessrecsssesssseressssressrsressseessesetessnatens 44 Acadia Audio Channels in Consoles 45 PRUOALO IG ONS ON CS Aorist sie eaG rte aN Cantal a a aeaieuta eget 45 ASSINO
10. RAM Disk Video HD Fy cyber mov What to Open E Use Setup Instruments 2 Locate the QuickTime file you wish to open select it and click Open What happens next depends on what type of data is contained in the Quick Time movie Specifically 1 If the movie contains only audio data go to step 2 If the movie contains both MIDI and audio Vision will import both the MIDI and audio into a new sequence after first asking your to define an audio file format for the imported audio Go to step Vision amp Studio Vision Pro Audio Reference Manual 215 PART 5 Basic Audio Editing amp Playback 3 If the movie contains BOTH Video AND audio and or MIDI you ll see an alert box asking you what exactly you want to do with the QuickTime file Do you wish to import the audio and MIDI from the QuickTime movie or just open it for viewing in the Movie window Cancel Import amp View Import view _ Import causes Vision to import the movie s MIDI and or audio tracks into Vision tracks View causes Vision to open the movie in the QuickTime Movie Window The audio data is not imported into Vision but will play back using the standard QuickTime elements contained in the QuickTime Movie Window Import amp View causes Vision to import the audio as described above plus it opens the movie into the QuickTime Movie Window Since this tutorial is concerned wi
11. Unless you disabled its display in the DSP Preferences dialog discussed on page 423 Vision opens the Adjust Audio Tempo dialog box Make sure Tempo Map appears in the top pop up menu Choose Tempo Map from the pop up menu Adjust Audio Tempo Adjust the audio s tempo to Tempo Map Original audio tempo 110 00 patent pending Figure 37 8 Adjust Audio Tempo Dialog Box for molding audio to an existing Tempo Map If New Tempo appears simply select Tempo Map from the pop up menu as shown in Figure 37 8 Enter the tempo at which the audio was originally recorded In this example the audio was originally recorded at 110 bpm Original audio tempo 110 00 i Opcode Systems Inc CHAPTER 35 DSP Menu Pitch Shift Formant Shift Time Scale and Adjust Audio Tempo Click OK Unless you disabled its display in the DSP Preferences dialog discussed on page 423 Vision opens a Save As dialog box Audio 1 HD Desktop Process event s into Cancel My Song 001 Adj EUn Space Needed 1 4 MB Available 863 6 MB O Bypass this dialog next time Figure 37 9 Save As Dialog for Adjust Audio Tempo When you adjust audio tempo Vision constructs one or more new audio files depending on the file saving option you select in the DSP Preferences dialog box discussed on page 423 It leaves your original audio file o
12. va y Out 1 2 va n 3 4 Hees EAEN Ei D 2 pena 7 Output 5 6 Audio 5 Figure 16 19 Typical Audio Recording Setup Therefore when Input 1 is record enabled and the Thru mode is set to either On or Auto then e Thesignal present at Input 1 is heard through Output 5 6 If you want to change the outputs used to monitor the signal simply assign different outputs to Audio 5 e Voice 5is used to monitor the signal present at Input 1 e The monitored signal is affected by the console s volume and pan faders as well as by any Audio Sends or TDM Inserts that it might use e The recorded signal is not affected by the console s volume pan sends or inserts it s recorded to your hard disk exactly as It s received Voice Allocation If an input is record enabled Studio Vision looks to see which voice is used by the Audio Instrument assigned to that input It then reserves that voice for recording and or monitoring the input Signal This means that if an audio event uses an Audio Instrument that s assigned to the reserved voice you will not hear it while recording Voice allocation works slightly differently depending on whether the Thru mode is On Off or Auto as described below Example Look at Figure 16 19 Notice that both Audio 5 and Audio 6 use Voice 5 As long as Input 1 is record enabled and Audio 5 is assigned to Input 1 then if Thru mode is On or Off you wi
13. 250 Opcode Systems Inc CHAPTER 22 Auditioning Audio In this example all audio events were Assembling a New Take selected Once you ve selected the audio events Sequence D 1 you want to use you can assemble them into anew take To do so Select the audio events you want to keep by Shift clicking them in the Graphic Window If you want you can audition all the selected audio events by choosing Do gt Play Selection Vision plays only the selected events 4 Select Do gt Mute gt Toggle Mutes Select the audio events you wish to keep Vision mutes the A set of audio events and unmutes the B set Sequence D T DPPU Take 1 panoe Take 1 Audio 2 somam Verse Take 2 Verse Take 2 SEL Tu Stri chart El H i Audio 2 la SS Verse Take 2 Audio 3 zie corn Coa Verse Take 3 a tal strip Chart To KI Audio 1 Figure 22 5 Audio Event Set B 2 Copy the selected audio events to a new track using standard copy paste 5 Play the sequence and listen to your techniques B set of audio events Sequence D Track 2 H Audio 1 Audio 2 verse Te 2 perso Take 2 E el Strip chart Figure 22 6 Good audio events pasted into a new track Vision amp Studio Vision Pro Audio Reference Manual 251 PART 6 Advanced
14. Audio Instruments amp Routings E B Sumber of Instruments 8 Figure 14 7 Changing the number of Audio Instruments The following procedure illustrates using QuickPunch with asingle mono input to punch in on atrack with existing material CQ Record enable the track you want to punch in on 2 Enable punch mode by clicking the Punch toggle in the Control Bar Leave the Punch In point set to 1 10 and the Punch Out point set to infinity 3 Inthe Control Bar s Record Mode pop up select Replace 4 Open the Record Monitor Window by clicking the Record Indicator button in the Control Bar 5 For the desired input line specify a mono hardware input from the Record Source pop up Then record enable the input by clicking its Record Enable Indicator eS Record Monitor B Rec Source Available Instrument F neut DDNMANNNNNNNNNN A O Crone Audio 1 QE Input 2 5 O fone Audio 2 Innit angpnnnnnnannnn m M Chone Audio 3 zi When prompted enter a name and folder destination for the record file Assign the desired mono Audio Instrument to the record enabled input line use the same Instrument assigned to the track that is record enabled 7 In the Record Monitor s Thru pop up select Auto i Input 7 Meee 2 Input 8 DNNNNATENNNN Enable QuickPunch by clicking its checkbox in the Record Monitor Window ta Input
15. Step Overdub Record enabled tracks can always record MIDI data but to record audio the Record Monitor Window must be open and one or more input lines must be record enabled If Vision is properly configured to record audio then the Record Mode display contains a small digital audio icon Digital audio icon indicates that you will be recording audio events In the Control Bar either set a Countoff or select Wait for Note 6 Click the Record button in Vision s Control Bar If you chose Wait for Note either play a MIDI note click the Play button or press the Spacebar to start recording 7 Begin playing or singing the material you wish to record Vision records the audio along with any MIDI you perform When finished click the Stop button to stop recording The recorded audio is stored in the cur rent record file or files listed in the Record M onitor Window Remember if you want to record into another file you need to first designate it as the record file If you have the Graphic Window open you ll see a graphic representation of your waveform appear below the Piano Roll Se a aa Figure 5 2 Waveform Displayed 30 Opcode Systems Inc CHAPTER 5 Acadia Recording Audio The appearance of the waveform is deter mined by the Audio gt Waveform Display submenu Specifically e Off This display option completely disables the waveform display When you sele
16. Vision amp Studio Vision Pro Audio Reference Manual 33 PART 3 The Acadia Audio System 34 Opcode Systems Inc CHAPTER 6 Acadia Audio Instruments amp Routings Window This chapter discusses the items con e Audio Instruments are assigned to tained in the Audio Instruments amp audio events residing in tracks and Routings Window To open this window determine how the events are choose Windows gt Audio Instruments outputted Inputs correspond to the physical inputs of your audio hardware Inputs appear as input sources in the Con sole Window and record sources in the Record M onitor e Outputs correspond to the physical outputs of your audio hardware Out puts are assigned as destinations for Audio Instruments Audio Sends bus ses and even hardware inputs Outputs can also be used as input sources in the Console Window or record sources in the Record M onitor The Acadia audio system supports a maximum of 24 hardware outputs e Busses up to 16 act as mono or stereo destinations for groups of con sole channels via sends they can also be assigned as outputs Busses are useful for creating auxiliary sends to shared plug ins submixes and master faders Audio Instruments amp Routings Snd Mngr O O GE A EE CS ES NS A SE PS CS ce ES OG wa Snd Mngr E Snd Mngr Snd Mngr Snd Mngr Snd Mngr Snd Mngr Snd Mngr Snd Mngr Snd Mngr Snd Mngr Snd Mngr Sn
17. COPY FADERS AND AUDIO CHANNELS The Copy Faders command is an excel Press Play lent way to create a fader snapshot to Watch the first fader move just as you put at the beginning of your sequence recorded it Inserting an Initial setting for each fader is Disable the first fader by clicking on very Important but it is often overlooked its selector dot For example you might use volume ne faders to create a fade out at the end of a song with each instrument s volume set ting ending at 0 The first time the sequence is played it sounds correct After the sequence ends you press play again but can t hear anything If you let Enable a different fader and set it to the sequence play long enough you ll JD 800 1 Pan hear only the fade out This happens because at the end of the FT song each instrument receives a volume aa setting of 0 If there s no volume data at Fs 127 eer the beginning of the sequence the instru eee ET ment doesn t know to change its volume until the first volume event of the fade out Press Play Creating a set of initial volume settings a Now the new fader moves to the snapshot of the Console and Faders recorded pan events windows will alleviate this problem 272 Opcode Systems Inc CHAPTER 24 Automation Of course the same principles apply to mutes and solos send levels pan EQ parameters plug in parameters etc For basic information about Copy
18. Fader Remotes Enabled Master Instrument Console Name Build Console From P Clear Console Vision adds an EQ area with Gain faders to each audio channel in the console EQ area 4 il Figure 7 9 EQ area with Gain faders To enable a channel s EQ click the On button in the EQ area Then move the mini Gain faders to audition different EQ settings NOTE You can also display the EQ area without the Gain faders by choosing EQs gt Basic To hide the EQ area in the Console Window choose EQs gt Hidden Anatomy of the EQ Area EQ Edit button EQ toggle Ej Phase toggle Gain faders TTTT lt lt EQ Type Figure 7 10 EQ area in the Console Window The EQ area once enabled includes the following items EQ Edit button Click this button to open the EQ Window where you can disable and enable individual EQ bands specify the EQ type for each band and view the EQ curve EQ for Audio 1 B 18 50 100 200 500 1K 2K 5K 10K 20K C a Freq j 560 Hz Freq J 8200 Hz Gain j 8 2 d Figure 7 11 EQ Window For a complete explanation of the components in the EQ Window please see Chapter 9 Acadia EQ Window 54 Opcode Systems Inc CHAPTER 7 Acadia Audio Channels in Consoles EQ Toggle button Turns on and off the EQ for the audio
19. al 2 Stripping with 1 2 sec minimum duration H Strip silence Silence threshold 12 Minimum duration 100 msess Attack time 20 msecs Release time 20 msecs 3 Stripping with 1 10 sec minimum duration all other parameters equal Figure 27 9 Effect of Different Minimum Duration Settings F eel free to experiment with different minimum durations Once you gate or auto separate audio with the Strip Silence Slice Audio command you can audition it if you re not happy with the results undo the command and try a dif ferent Minimum Duration 312 Opcode Systems Inc CHAPTER 27 Strip Silence and Slice Audio Attack Time Use the Attack Time numerical to set the amount of time it takes for the audio Signal immediately following a stripped section to regain its full volume Allowable values are between 0 ms and 1 000 ms 1 second The length of the attack time you choose will depend on the sonic char acteristics of your audio file for example you would probably want to use a short value with a drum track due to the short attack most percussion sounds have Setting an attack time can make the after effects of strip silencing sound more natu ral In a similar way it can make audio slices sound more natural when played individually not in the context of the Surrounding slices With both Strip Silence and Slice Audio Attack Time determines when each event will begin The Attac
20. Template Functions pop up Use this pop up menu to save copy and paste EQ settings see page 73 for details Template pop up Use this pop up menu to select from your list of saved EQ templates see page 72 for details Channel Specifies the audio channel Audio Instrument hardware input or output or bus being processed by the EQ Mute M utes the Audio Instrument that the EQ Is assigned to Solo Solos the Audio Instrument that the EQ is assigned to EQ Panel 1 4 Determines the EQ type and parameter settings for each EQ band and whether the band is on or off For acomplete explanation see EQ Panel pg 71 EQ Curve Displays the frequency response for all four bands of EQ for the assigned audio channel Frequency is plotted on the x hori zontal axis and amplitude on the y vertical axis 70 Opcode Systems Inc CHAPTER 9 Acadia EQ Window EQ PANEL EQ Toggle EQ Type pop up Fr 176 Hz Gain 8 0 dB Width j 0 8 oct EQ Parameters Figure 9 3 EQ Panel toggled On with Parametric The EQ Window has four panels display ing the settings for each EQ band Any of the four EQ bands can be turned on or off independently of the others with their EQ toggle IMPORTANT Make sure to turn off any unused EQ bands This preserves valuable CPU resources which means you ll be able to get more simultaneous audio tracks and use more plug ins and sends NOTE T
21. The following sections detail each of these methods Audio Events on Separate Audio Instruments As discussed previously if multiple audio events share the same track Audio Instrument and time range Vision can play only one of the audio events at a time One way to make Vision play multiple audio events simultaneously is to assign them to different Audio Instruments as discussed in Changing Audio pg 191 Even though these audio events overlap in time they will both play simultaneously since they re assigned to separate Audio Instruments A o H Figure 19 4 Audio Events in the same track but on different Audio Instruments as shown in the Graphic Window NOTE Your audio hardware determines the maximum number of voices and therefore the maximum number of audio events that can play simultaneously Audio Events in Separate Tracks As discussed previously if multiple audio events share the same track Audio Instrument and time range Vision can play only one of the audio events at a time Another way to make Vision play multiple audio events simultaneously is to assign them to different Tracks Even though these audio events are assigned to the same Audio Instrument they re on different tracks meaning they ll play back simultaneously Ostinato Fi Eee Figure 19 5 Audio Events in Different Tracks as shown in the Tracks Window As always your audio hardware
22. File Blazing Synths Label None Comments _oK Figure 25 4 Label dialog box with a single file selected File name The name of the file is displayed here This information is read only the file s name cannot be changed in this window For informa tion about renaming audio files from the File Management window see Rename pg 295 288 Opcode Systems Inc CHAPTER 25 File Management Label The file s current label is dis If more than one file is selected when the played here Click on the label popup Label command is chosen the dialog box to see the your options looks like this Change Label And Comment Essential SE Hot Pe in Progress If the file doesn t already have a label Label None id Cool D Personal We Project 1 We Project 2 If the file already has a label Label No Change O Replace Comments Figure 25 5 Label Pop up The options in the Label popup echo the Finder s Label options Choosing a Label here will label the file in the Finder Comments The file s current com Figure 25 6 Label dialog box with more than one ments are displayed in this field You file selected can also type here to add comments to the file in the Finder s Get Info If the file doesn t already have a window label If the file does not yet havea label in the Finder it will be given the label assigned here This pop up is the same as
23. I a aaa tions and then launch them in the correct order Quitting Vision and ReBirth Vision cannot be quit while ReBirth is open when using the ReWire Extension If you try to quit Vision while ReBirth is open the following error message will appear The ReWire device ReBirth Audio cannot be A closed Quit all other ReWire compatible applications Launching Vision and ReBirth using tile device including ReBirth then quit It s important to launch Vision before launching ReBirth 2 0 or higher with ReWire installed If you launch the appli cations in the incorrect order you ll see this dialog Click the OK button and then quit ReBirth before quitting Vision 332 Opcode Systems Inc CHAPTER 30 ReWire 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 synthesizer that must be triggered with MIDI To trig ger Retro with MIDI you must have the Retro AS 1 OMS Driver in your System Folder gt OM S Folder After installing the Retro OM S driver choose Studio gt MIDI Cards and Inter faces in OMS which will update your OMS setup to include Retro AS 1 XTC Setup BitHeadz Retro 45 1 ID 0 Chs 1 16 Sa Fetra 45 1 83 IAC Driver After Retro AS 1 is included in your OMS Studio Setup save your setup and go to Windows Anstruments in Vision Open
24. Output file size 555K The sound in the movie is 8 bit Cancel OK Figure 20 8 Audio Format Dialog Box Use the various pop up menus to define the desired audio format The Audio Format dialog box parame ters are discussed in Anatomy of the Audio Format Dialog Box pg 228 Click OK Vision returns you to the Save As dialog box Click Save Vision saves the audio file in the requested format creates a new sequence and imports each imported audio file into its own track within that sequence If the imported QuickTime file contained MIDI data it too would be placed in the new sequence with each MIDI channel assigned to its own track NOTE If at this point Vision opens the Conversion Overview dialog box see If the Conversion Overview Dialog Box Appears When You Import Audio pg 220 Importing Audio from a Standard Red Book Audio CD Y ou can import audio from standard red book audio CDs This is particularly useful for importing samples from third party audio sample CDs CG Open a Graphic or List Window and set an Edit In Point Alternately you could click in the Track Overview area of the Tracks Window to automatically set an Edit In Point for the desired track 2 In Vision select the track into which you wish to import the audio and open its Graphic or List Window 3 Choose File gt Import Audio Using QuickTime An Import dialog box appears Audio CO 1 Y
25. Show Remote Devices Show Masking Tape Fader Remotes Enabled Master Instrument Console Name Build Console From P Selected Tracks Instruments Clear Console All Instruments In Use MIDI Instruments In Use Audio Instruments In Use Save Console Layout Save Console Layout As Load Console Layout Audio Instruments Studio Vision assigns each of your Audio Instruments to a Corresponding console channel O m Console 1 ie Output 1 2 _Audio 6 4 From the Console Window menu press and hold the mouse on the Plug Ins command Studio Vision produces a submenu of TDM choices 0 H Console 1 Channel Width gt Audio Sends gt Plug ins b EQs p 1 Plug in 2 Plug ins 5 3 Plug ins f 4 Plug Ins Show Selected Fader Info Show All Fader Info Show Remote Devices Show Masking Tape Fader Remotes Enabled lv Master Instrument Console Name Build Console From p Clear Console Save Console Layout Save Console Layout As Load Console Layout From the submenu select the number of plug ins you want to access per channel Studio Vision adds a plug in area to each console channel tha plug in Eno plug in oe a vA Serta ber faerie fe eat no plug in no plug in no plug in li T i u i TDM
26. Y Compressor mono V Compressor2 mono Y Compressor mono in stereo out V Compressor2 mono in stereo out mono mono in stereo out mono in stereo out mono mono in stereo out mono V RDelay mono in stereo out mono in stereo out mono in stereo out mono in stereo out mono in stereo out mono in stereo out mono V Reverb mono V Ring mono Y SDelay mono fFILTER mono fVINYL Figure 7 8 Two types of mono in plug ins 52 Opcode Systems Inc CHAPTER 7 Acadia Audio Channels in Consoles If you select a mono in mono out plug in it processes the mono Input signal and outputs a mono signal NOTE Vision lets you use mono in stereo out plug ins as mono in mono out plug ins thereby preserving a mono sig nal These plug ins are displayed in the left side of the Plug In Selector pop up and are labeled mono see Figure 7 8 Keepin mind that these are not true mono out plug ins and only the left channel is routed If you select a mono in stereo out plug in it processes the mono Input signal and outputs a stereo signal which means that e Since the plug in s output is stereo any plug in placed after it in the chain can only be a stereo plug in e n order to hear the stereo signal you must send that signal to an output pair A mono in stereo out plug in can only be followed by a stereo plug in V Compressor stereo
27. cccscessescsssessessresessresessressenreesenees 327 ReWire 329 Who Should Read This Chapter ccccscscssssessssresssresseesseeeens 329 AVOUCREW ICC anr 329 Configuring your System for ReWif s sssssssrrerrssrrserrsrrrserrsrrrsnras 330 Example 1 Using Vision with ReBirth ceccssesessesessseesssseesenees 331 Example 2 Using Vision with Retro AS 1 cccescssessssessereeserees 333 Additional REW ire N OtGS cccsscssssessssresssseeesssseessssessssstesseteesenees 335 Audio Scrubbing 337 Who Should Read This Chapter ccccscscssssesssssssssssseessseeees 337 Audio Scrubbing in the Graphic WindoOW ssssesssssrssrrserrsrrrsrrrersns 337 Audio Scrubbing in the Track Overview Area rreren 339 The Audio Menu 343 REE n a O TE eee er eee eee 343 ES elle EE AR E E A AE E N EA E E E 344 SO SILENCE SICE AUC rrara a 346 GERE VENE IN Oranii E aaaaaiteateant 347 EARE vent SOUR OTIC seiniin A A 348 Opcode Manual Template Ix Table of Contents CHAPTER 33 CHAPTER 34 CHAPTER 35 EIC E VONT iopen E E A 350 UOK EVEN aaan caus einem itary haa anonandeimunia muna 350 Fe Malad CM NE ticaitaseterottintredaedirerrale T 350 Conversi n OVEIVICW ccccccscsscssssssresssressssresssseeesssatesesteessntesssnttessgs 351 BOUNEN IZ C sab oitesaresteadiratauctncevansiaide vitouauasneteeteeuneren a adesttrndecualooies 351 Sampie Bakes SIZE isna a A 352 Fok AW ASS CLU Dieta visncitacuarooannsinnsbnatae nate a 352 AU
28. i Reset All a u Output 1 2 Output 1 2 Output 1 2 Output 1 2 Output 1 2 Output 1 2 TE EEE 2 oe i Figure 15 3 Selecting the number of Audio Instruments Use the Audio Instruments Window to name up to 64 Audio Instruments which will appear in any other windows or dialog boxes that contain Instrument menus 3 Select the desired number of Audio Instruments then release the mouse button Vision amp Studio Vision Pro Audio Reference Manual 133 PART 4 Digidesign DAE Configuration amp Recording Naming Busses Inputs and Outputs In addition to Audio Instruments custom names can be typed in for each item in the Audio Instruments and Routings Window for instance vocals for an Audio Instrument or Stereo Send 1 for a bus F Busses Master Fader I j Bus 2 da ws na output no output no output Unna mitet Bus 3 i A 300 G oo o O Figure 15 4 Renaming a bus To rename an Audio Instrument input or output SampleCell channel or bus click in the Name column for the desired item type in the new name and then type Return Changes to the names are auto matically updated in other windows dialogs and pop up menus To return a name to its default highlight the desired name and type the Delete key Since Inputs outputs and SampleCell channels can be defined as stereo pairs or as individual mono channels different names can be
29. in Audio Format dialog 228 All Enabled Outputs M ix Acadia 318 appending to files 239 Apply to DSP Preferences 423 in Audio Recording Preferences 240 ASIO 13 using 3rd party hardware 17 ASIO driver selecting 15 ASIO Drivers folder 13 assigning an Audio Instrument 29 119 EQ Acadia 53 plug ins 47 plug ins example 47 48 Attack time example 314 in Strip Silence dialog 313 Audio Display Names 183 Introduction 3 Show Audio Event Names 355 audio channels definition 35 audio event 8 names 183 vs audio file 7 Audio Events DSP Preferences 425 audio events breaking into phrases 247 changing Instrument assignments 191 changing length 194 changing start times 190 comparing 250 copying 197 cutting 197 in Graphic window 177 Opcode Manual Template 433 Index in List window 178 in Tracks window 178 lengthening 196 muting Graphic window 248 muting List window 250 pasting 197 renaming 184 selecting 177 184 187 selecting portions of 187 selecting time range 188 trimming 195 unmuting 249 velocity 254 viewing as waveforms 179 Audio File in Get Event Info 347 audio file vs audio event 7 Audio Format dialog 228 u law 2 1 229 AIFF 228 anatomy 228 Bypass this dialog next time 233 Channels 231 232 Compression 229 Deinterleave 232 dithered 231 File format 228 IMA 4 1 229 Interleave 232 MACE 3 1 229 MACE 6 1 229 M ono 231 No Change 232 Normalize on M ix 232 Off Norma
30. in Audio Format dialog 232 Note Length Exceeds Audio to M IDI 402 number of audio tracks 83 0 Off 23 Normalize in Audio Format dialog 232 Record M onitor DAE 111 Waveform Display 182 354 On 23 Normalize in Audio Format dialog 232 Record M onitor DAE 111 One Event DSP Preferences 426 on the fly punching DAE see QuickPunch 127 onto multiple empty tracks Audio Preferences DAE 174 211 Open Control Panel Hardware Setup 16 organizing audio files in File Management window 286 Other Options Hardware Setup DAE 103 Output Audio Instruments DAE 142 Pro Tools amp Pro Tools II 145 Pro Tools III 24 M ix M ix Plus 143 Send area 58 Session 8 Project 144 output vs voice 7 Output column Audio Instruments window 42 Output destinations M ix Acadia 318 Output file size in Audio Format dialog 233 Output Pair Send area 58 Outputs assigning in Consoles 60 enabling 39 naming 134 recording from 82 stereo DAE 140 Outputs TDM and panning 158 assigning in Audio Instruments window 156 assigning in Console 156 routing options 157 P pan fader 257 260 Faders window 270 in List window 255 in Strip Chart 256 pan fader available unavailble 62 panning and Outputs 158 Audio Instruments 254 in Consoles 62 Parametric automation 279 EQ type 71 Paste Bank Opcode Manual Template 445 Index Template pop up 67 Paste Program Template pop up 67 Paste Settings Template pop up 73 Templ
31. that resides in the Opcode Folder in your System s E xten sions folder a eters Cahier I D i Lee ee Le E a Jot Tabir lL r Kodi Fb 5 Figure 41 2 Location of Premiere Plug ins Therefore you have two installation choices e You may install your Premiere plug ins directly into the Audio Plug ins folder or e You may install your Premiere plug ins in any folder you wish but you need to create an alias to those plug ins Put the alias into the Audio Plug ins folder If you have alot of plug ins stored ina folder somewhere else on your hard disk you can create an alias to that folder then put the folder s alias in your Audio Plug ins folder NOTE Some plug ins may not be able to use the alias method of installation If you follow these instructions and the plug in doesn t appear in the DSP gt Premiere Plug Ins submenu copy the actual plugin into the Audio Plug ins folder Premiere Plug In Basics Although every plug in operates differ ently the following guidelines apply to using Vision with all Adobe Premiere plug ins STUDIO VISION PRO USERS Premiere plug ins use Apple s Sound M anager to pre view the effect of any edits Once you usethe plug in to generate a new audio file you can play that file using your audio system of choice DAE or Acadia DAE users can use Digidesign s latest version of Digi Sound Drivers or Digi Output Drivers to make their Di
32. 0 966 Figure 37 5 Time Scale Dialog Box shown in SMPTE Mode Figure 37 5 shows a typical Time Scale dialog box which is discussed in the fol lowing sections 386 Opcode Systems Inc CHAPTER 35 DSP Menu Pitch Shift Formant Shift Time Scale and Adjust Audio Tempo Selecting the Viewing Mode Y ou can use the Time Scale dialog box in one of two time modes SMPTE or Bars B eats e From the Display pop up menu select SMPTE to display all times in SM PTE for film scoring and other time based composing as shown In Figure 37 5 e From the Display pop up menu select B ars Beats to display all times in musical bars and beats for traditional musical compositions as shown in Figure 37 6 Setting a New Time Range Vision gives you three different ways to set a new time range e Seta Scale Factor Enter a value in the Scale F actor numerical to automatically scale the selected audio by that amount For example if you Know you want the selected audio to be twice as long enter a Scale Factor of 2 0 Vision automatically fills in the End Time and Duration numericals e Setan End Time Enter anew End Time and Vision lengthens or shortens the selected audio data to end at that time For example if you know the selected audio has to end at Bar 5 Beat 1 enter that value in the End Time numerical Vision automatically fills in the Duration and Scale Factor numericals e Seta Duration Enter anew
33. 16 or 24 bit audio files these for mats can even be used at the same time If you have a 20 bit sound card and record 24 bit files the resolution is maintained though the extra 4 bits are ignored and will be present during playback 24 bit audio files are no larger than 20 bit files and therefore don t take any more disk space NOTE Even if your audio hardware sup ports 20 or 24 bits on input the extra resolution is only communicated to Vision if it is supported in the ASIO driver Contact the manufacturer for information on the supported sample sizes for your audio hardware and its associated ASIO driver 24 Opcode Systems Inc CHAPTER 5 Acadia Recording Audio This chapter discusses how to record dig ital audio using the Acadia Audio System For more details on recording please see Chapter 21 Advanced Recording Techniques For details on importing audio please see Chapter 20 I mport E xport Cornucopia RECORDING POWER USER OVERVIEW Following are the basic steps required to record a mono audio file from a hardware input Choose Windows gt Record Monitor Vision opens the Record Monitor Window With the Record M onitor Window active C1 For the desired input line specify a mono hardware input from the Record Source pop up 2 Record enable the input line by clicking its Record Enable Indicator Vision produces a standard Save As dialog box 3 For the record fil
34. 360 Opcode Systems Inc CHAPTER 33 DSP Menu Mix Normalize Reverse Invert Phase and Convert Sample Rate INVERT PHASE Choose this command to switch all the positive and negative values of the selected audio essentially turning it upside down This process doesn t change the sound of the audio by itself but it may have an affect on how the audio fits in when mixed with other Instru ments in a song Audio prior to inverting phase Audio after inverting phase 4 Figure 33 6 Example of Inverting the Audio Phase To use the Invert Phase command Select the audio event s or portion of events you wish to invert 2 Choose DSP gt Invert Phase Unless you disabled its display in the DSP Preferences dialog discussed on page 423 Vision opens a Save As dialog box c Audio 1 HD Desktop Process event s into Cancel My Song O01 Inv eae Space Needed 1 4 MB Available 863 6 MB O Bypass this dialog next time Figure 33 7 Save As Dialog for Invert Phase When you invert audio Vision constructs one or more new audio files depending on the file saving option you select in the DSP Preferences dialog box discussed on page 423 It leaves your original audio file or files unaffected Use the File Format pop up menu to specify the desired file format AIFF or Sound Designer Il Navigate to the folder in which you want to save the file By default Vision
35. 9 Click OK Vision generates the requested MIDI data such as volume pitch bend or brightness using the single MIDI note as the baseline for the data it generates EXAM PLE 2 Vocoding Assume you d like to use your voice to add character to a M IDI performance To do so Record the MIDI notes whose character you want to modify In the same track overdub your voice singing the same thing as the MIDI notes Select both the MIDI notes and the audio data Choose DSP gt Audio to MIDI Vision opens the basic Audio to MIDI dialog box Click the More Choices button to see the expanded dialog box Check the Use generated notes option Check the Generate new velocities option This lets your MIDI notes take on addi tional dynamic characteristics from your vocal Check those values you want to generate such as pitch bend volume and brightness Click OK Vision generates the requested MIDI data using your original MIDI notes but extrapolating new MIDI controller infor mation from your vocal recording 404 Opcode Systems Inc CHAPTER 36 DSP Menu Audio to MIDI and MIDI to Audio Creating Custom Audio Templates Y ou can create your own Audio Tem plates using the expanded Audio to M IDI dialog box Audio Templates retain the value of all parameters in the Audio to M IDI dialog box except e MIDI Instrument selection e Absolute vs Relative volu
36. Automation Plug In Parameter Values All plug in parameters regardless of their ranges in the plug in edit window will have values between 0 0000 and 100 0000 in the List window The plug in parame ter s range of possible values in the plug in edit window is mapped onto this scale When the plug in parameter automation events are played back they are mapped back to the appropriate range of values In the plug in edit window For example the opE CHO Feedback parameter can have values ranging from 0 000000 to 1 000000 A value of 0 696067 in the opE CHO edit window corresponds to a value of 69 6067 in the List window This system can be confusing for parame ters with other value ranges For example the ooE CHO Rhythm parameter uses a note size as its setting If you record a value of 5 16 the list window dis plays 55 6818 During playback this is mapped correctly back to the original 5 16 value but the value is hard to under Stand in the List window In this case it s probably best to either record your data real time or draw it in the Strip Chart rather than inserting events in the List window Plug In Parameter Names Figure 24 28 shows the plug in edit window for opRING which is a faceless plug in Faceless plug ins have very simple user interfaces The names of parameters for faceless plug ins are shown in the List Window and the Strip Chart Figure 24 28 opRING plug in edit window Figur
37. By default Vision selects the folder you specify in the DSP Preferences dialog discussed on page 423 Type a name for the shifted audio file By default Vision suggests a name based on the auto naming options you specify in the DSP Preferences dialog discussed on page 423 Vision amp Studio Vision Pro Audio Reference Manual 381 PART 7 Menus D Click Save Vision creates a new audio file or files for the shifted audio It creates one or more new audio events to play that audio replacing the original audio event s in your sequence NOTE If you never want to see this Save As dialog box again that is you always accept the default name and folder click the Bypass this dialog next time option in the Save As dialog box Should you wish to make the Save As dialog reappear choose DSP gt DSP Prefer ences select Pitch Shift from its Apply to pop up menu then uncheck the Bypass Save As Dialog option Using a MIDI Controller to Enter a Pitch Shift You can enter a pitch shift interval from your MIDI controller To do so In the Pitch Shift dialog box click the from numerical to highlight it Play a note on your MIDI controller In this example we played an F 3 from NOTE The controller must be enabled in Vision s Settings gt Enable Input Devices dialog box 3 Click the to numerical to highlight it 4 Play a note on your MIDI controller In this example we p
38. Plug Ins 7 Assign any desired TDM Inserts or Audio Sends to the bus channel In this example some TDM equalization and a TDM reverb is added to the bus TDM plug in assignments eres ele EP E B no dsp Iiltno dsp i no dsp E eae o ea o os Hee ooo a no dsp no dap pe T Notice that by processing all three sing ers as a single group you re saving valuable TDM resources by affecting all three singers with a single set of plug ins Use the bus channel s volume fader to mix the volume of the processed backup singers into the final mix SAMPLECELL SUPPORT TDM users with a TDM equipped Sam pleCell card can now use Studio Vision s consoles to mix route and process Sam pleCell outputs Ina Console Window press and hold the mouse on the Instrument Selector If you have a Digidesign SampleCell II card plugged into the TDM bus you ll see two SampleCell submenus at the bottom of the list Input Pair SC Il Pair Routing a stereo SampleCell output pair into a Console channel Oo J m of of ay Fa Routing a mono SampleCell output into a Console channel Figure 16 17 SampleCell Instrument Options Vision amp Studio Vision Pro Audio Reference Manual 165 PART 4 Digidesign DAE Configuration amp Recording Select either a mono output from the SC Il submenu or a stereo output from the SC II Pair submenu The console channe
39. amp Bouncing to Disk explores some real world examples for bussing routing and recording audio channels SETTING THE NUMBER OF AUDIO INSTRUMENTS NOTE This section applies to all Vision and Studio Vision users but is most applica ble to TDM and Acadia users Vision can use as many Audio Instru ments as your memory and CPU resources allow up to amaximum of 128 Vision initially defaults to 16 Audio Instru ments but you can request a greater number if you like Vision stores the requested number of Audio Instruments in both its Setup file and in each Vision file When using the Acadia audio system the number of Audio Instruments you specify determines the number of possible audio events that can sound at any one time and the amount of RAM used for audio buffers IMPORTANT The number of Audio Instruments you specify determines only the theoretical number of possible audio events that can play back simultaneously There are many other factors that affect the actual number of simultaneous audio tracks you can expect Vision to play These include the speed of your CPU the speed of your hard disk and the speed of its IDE SCSI connection the number of EQ bands in use and the number and type of VST plug ins employed For more information see Chapter 11 Acadia Optimizing for Digital Audio 36 Opcode Systems Inc CHAPTER 6 Acadia Audio Instruments amp Routings Window To select the
40. assigned to an output pair or stereo bus Use the pan fader to position the mono signal in the stereo field NOTE Thepan fader is not available ifthe source for the audio console channel is ste reo or if a mono signal is assigned toa mono output Console channels with stereo input sources Audio Instruments inputs out puts or busses are not affected by pan data controller 10 When you uncheck Master Instrument pan faders are always visible since in this mode pan faders can control any Instru ment and any type of controller data not just controller 10 CLEARING CONSOLES To return a console to its default state with Instrument Selectors set to none choose Clear Console from the Console Window menu Clear all Instrument Selectors for channels in Console 1 kA Clear plug ins sends and EQs as well Any Plug in automation events for these plug ins willbe removed This i Cox Figure 7 14 Clear Console dialog This dialog also gives you a checkbox option for clearing plug ins sends and EQs that were assigned in that Console W indow If this option is checked all auto mation data for any assigned plug ins will be cleared as well 62 Opcode Systems Inc CHAPTER 8 Acadia Plug In Edit Window PLUG IN EDIT WINDOW This chapter discusses the components found in the Plug In Edit Window which is used to display and edit plug in parame ters and store and recall plug i
41. audio file e Your song uses audio files that are also referenced by other Vision files and you want to create an audio file used only by the active Vision file Once you have a consolidated file you can delete the original files to clear up disk space if they don t contain any data needed by other Vision files After consolidating you may want to use the Remove From List command so that the File Management window displays only the new consolidated file see Remove from List pg 299 IMPORTANT Vision cannot consolidate files with different sample rates and it cannot consolidate interleaved stereo files with mono files To consolidate files CG Selecta file by clicking its selector dot in the File Management dialog box 2 Shift click on the selector dots of additional files to select or deselect them 3 Choose Consolidate from the File Management menu Vision opens a standard Save As dialog box Since consolidating files creates a new audio file you must name it and save it before Vision can create the data for the new file 4 Name and Save the new Audio File Vision creates a single consolidated audio file Label Label allows you to apply one of the Finder s labels to the file If a single file is selected when you choose the Label com mand the following dialog box appears Label And Comment
42. audio hardware as well as any unique sample rates referenced by the Vision file If you change the values in these pop ups the audio files may require different con versions indicated by the check marks in the list see The File List pg 304 If you re using DAE the current hardware sample rate is marked by a M acintosh icon in the pop up menu Generally you Should choose this setting You can if desired set a session sample rate other than one of the ones listed in the pop up menu To do so choose Other from the pop up menu Vision opens the Set Other Rate Dialog box is Enter a Sample rate greater than 5563 Hz and less than or equal to 65535 Hz a Figure 26 4 Set Other Rate Dialog Box Button Descriptions The following sections discuss each button in the conversion overview dialog box Hardware Setup Button Click this button to open the Hardware Setup dialog box where you can change the hardware sample rate Clicking this button is the same as choosing Audio gt H ardware Setup Vision amp Studio Vision Pro Audio Reference Manual 305 PART 6 Advanced Audio Techniques Done Button Clicking the Done button will cause the Conversion Overview dialog box to disap pear Any conversions you made prior to clicking the Done button are kept but any unconverted files remain unconverted Convert and Convert All Buttons If the Conversion Overview dialog box has appeared because
43. be on However writing an EQ E nable Off event does not actually write EQ Band Enable Off events for the EQ bands it simply overrides the current setting for each band E T T i a J AN 5 a z Patan EQ Band Parameters 0 Band Far Jal aFameteF E Band 1 Freg E Band 1 Gain EQ Gand 1 Width EQ Band 1 Type EQ Band 1 Enable EQ Band 2 Freg EQ Band 2 Gain EG Gand 2 width EQ Band 2 Type Et Band 2 Enable EQ Band 3 Freg Et Band 4 Gain EQ Band 3 Width EQ Band 2 Type EQ Band 3 Enable EQ Band 4 Freg EQ Band 4 Gain EG Band 4 Width EQ Band 4 Type EC Band 4 Enable Each of the five EQ band parameters can be applied to each of the four EQ bands discretely The types of EQ band parame ters are e Frequency Controls the frequency of the speci fied EQ band Values can range from 20 00 Hz to 20000 00 Hz e Gain Controls the gain of the specified EQ band Values can range from 18 00 dB to 18 00 dB e Width Controls the width of the specified EQ band Values can range from 0 to 4 00 octaves e Type Allows you to change the EQ type for the specified band Clicking on the EQ Type setting opens a pop up menu with all five EQ types Low Cut Low Shelf Parametric High Shelf High Cut For an explanation of the various EQ types see page 1 278 Opcode Systems Inc CHAPTER 24 Automation e Enable Enables and disables the chosen EQ band EQ Band Enable events can hav
44. button to collapse the Audio to M IDI dialog box to see only its basic param eters as described in The Basic Audio to M IDI Dialog Box pg 398 Using the Note Length Exceeds Parameter Sometimes the MIDI data generated by the conversion can contain extra notes of very short duration This may occur if e your attacks aren t clean Such as a slight catch in the throat of a vocalist or some fret noise from a guitar or e your audio contains some attack blur ring such as from early reflections or reverb or e your audio recording is noisy For example if you convert an electric guitar performance to MIDI the algo rithm might sometimes create two notes on the attack one when the pick hits the string and another immediately afterward when the string reaches full vibration To eliminate the double note select a Note length exceeds value that s longer than the duration of the first Spurious note This parameter works differently depend ing on whether the pitch of the spurious note is the same or different than the pitch of the real note Spurious note is the same pitch as the real note Spurious note of same pitch cre ated by dirty attack Figure 39 4 MIDI conversion w spurious note of same pitch If the spurious note is the same pitch as the second real note and you select a Note length exceeds value greater than the length of the spuri ous note then
45. crossfade lengths In other words if you select a pair of 30 second audio events and crossfade them over a length of 50ms Vision would generate a single new audio event that was 50ms long It would replace portions of the original two events with this new crossfade event and leave the unaffected portions of the origi nal events intact Obviously the top option means you have fewer audio events to keep track of but you consume a lot more hard disk space by duplicating unchanged audio The big gest advantages to this option are 1 you can change the sequence tempo without messing up your fades crossfades and 2 you can easily open the new file in a sepa rate sound editing program like Peak or Sound Designer II for further editing The bottom option means you conserve hard disk space and shorten processing times but it complicates your file manage ment and editing efforts by creating more audio events You should use this option only if you don t plan to perform any addi tional editing of events or move them around within the sequence It s up to you to decide which file writing method works best for you Creating Fade Ins and Fade Outs F ade ins and F ade outs use the following portion of the F ade Crossfade Settings dialog box If audio events are too short O Allow fade ins with minimum length of ms d H100 exponentia Figure 35 5 Fade in Fade out Parameters in Fade Crossfade Dialog B
46. information about any audio event It s also an easy way to rename an event from within the Graphic Window The Audio Event Info Dialog box contains the following information e Event Name displays the name of the selected audio event You can use this field to change the name of the event if desired e Duration shows the duration of the audio event e Audio File displays the name of the audio file that the event references File Volume displays the hard disk on which the audio file resides File Formatis the file format in which the audio file is stored Sample Rate is the sample rate at which the audio in the file was recorded e Sample Size is the bit depth of the dynamic range of the audio event Sample Size can also be thought of as the resolution of the file in bits e Channels shows you whether the event s file is mono or stereo If the audio event is part of a linked stereo file then the dialog box displays information about both the left and right channels of the audio event Audio Event Info Event Name frackstereos o _ Duration 19 69 secs Left Audio Channel Channels Mono e Rate 44100 Sample Start 0O e Size 16 bits Sample End 868476 oc ormat Audio IFF Channels M e Rate 44100 Sample Start 0O e Size 16 bits Sample End 868476 Figure 32 8 Audio Event Info Dialog for a Linked Stereo Event e Sample Start and Sample End dis play the sample number at which the a
47. ins etc is also available for the Export Audio M ix command Enable this option to use any assigned processing including all selected automation data for the exported audio mix For details see the two previous sections Mixing in Acadia Bounce to Disk pg 316 and Mixand Output Destinations pg 318 For information on the differences between File gt E xport Audio Mix and DSP gt Mix see Export Audio Mix vs DSP gt M ix pg 315 318 Opcode Systems Inc CHAPTER 28 Mixing Digital Audio Bouncing MIXING IN DAE If you re mixing anything except entire tracks you ll probably find the easiest way to select audio Is by placing every thing in the same track then you can use the Graphic Window to see the time ranges of all Audio Instruments and simply drag across what you want to mix To mix audio in the Graphic Window C1 Select the audio events or sections of events you d like to mix In this example you will mix all audio events that fall within a specified time range Audio 1 m s Audio 2 i Cs c Figure 28 1 Select Audio to Mix IM PORTANT If you want to include volume and pan information in the mix you MUST include those events in your selection Choose DSP gt Mix The Save As dialog box appears As shown in Figure 28 2 the bottom of the dialog box shows the format in which Vision will save the new audio file Gp Shuffle Fold
48. play simultaneously In Acadia mode the number of available voices is dependent on many factors including your computer s speed and RAM See Chapter 11 Acadia Optimizing for Digital Audio for more information Audio Instruments AUdiO 1 f 7 Audio 2 l Vision assigns playback voices Audio 3 to Audio Instruments reece Figure 2 6 Audio Instrument 1 uses Voice 4 for playback Audio Instrument 3 uses Voice 1 for playback The relationship between audio files audio events Audio Instruments Out puts and Voices is shown below Audio File Audio Events Audio Instruments Shee Audio 1 K auoe masy ND r Vision amp Studio Vision Pro Audio Reference Manual 9 PART 1 Introduction to Digital Audio 10 Opcode Systems Inc Acadia Vision amp Studio Vision Pro Audio Reference Manual 11 PART 5 Basic Audio Editing amp Playback 12 Opcode Systems Inc CHAPTER 3 Acadia Hardware Setup This chapter discusses how to configure your audio hardware for use with the Acadia audio system For other related information on taking advantage of your hardware see Chapter 11 Acadia Opti mizing for Digital Audio Ee THE ACADIA AUDIO SYSTEM Audio System p DAE lt Acadia MIDI only Figure 3 1 Audio Systems The Acadia audio system provides advanced processing and routing capabili ties for ASIO compatible audio hardware These c
49. recording is patched directly into your computer without first going through a mixing console When the On option is selected Vision sends the audio signal arriving at the input directly to the output of an audio channel so that you can hear the signal you re recording Off Select Off if you re using a mixing console to route audio signals to and from your audio interface When the Off option is selected Vision does not send the audio input Signal directly thru to the output Auto Select this option if you want Vision to make intelligent thruing decisions based on recording play back modes Specifically e Vision turns Thru On during idle times Vision turns Thru Off during playback e Vision turns Thru On only for the input lines that are record enabled while recording which allows you to hear what you are recording as you record it NOTE Some ASIO drivers may exhibit a noticeable latency in thruing audio If at all possible disable Thru and monitor record sources externally Auto Compact Choose this option to automatically compact audio during recording Compacting frees disk space by throwing out audio data that is not referenced by the current Vision file Such as data from dis carded takes Link Pairs Choose this option to link two input lines together to create a single stereo audio event In addi tion the input pair is assigned to a single Audio Instrument Sample Size Use thi
50. you play the audio event normally that is any way other than scrubbing the audio will be sent to Output 4 NOTE Thisis the same output reassign ment that occurs when you audition audio from the Import dialog box TDM USERS TDM systems such as Pro Tools Ill behave differently TDM systems look to see which output the scrubbed Audio Instrument is assigned to and then plays the scrubbed audio event using that output pair For example if you scrub an audio event that s assigned to an Audio Instrument using Output 4 then the scrubbed audio will be sent to both Outputs 3 amp 4 When you play normally the scrubbed output will be sent to Output 4 only 338 Opcode Systems Inc CHAPTER 31 Audio Scrubbing Scrubbing and Output Volume Scrubbed audio always plays at the maxi mum output level This is either 0 dB or 6 dB depending on your choice in the Audio Preferences dialog box as dis cussed in Maximum Fader Position pg 173 Scrubbing ignores both the velocity of the event and any associated MIDI volume commands AUDIO SCRUBBING IN THE TRACK OVERVIEW AREA You can scrub audio in the Track Win dow s Track Overview area in much the same way as in the Graphic Window To do so CG Inthe Track Overview area move the cursor over the audio event you wish to scrub 2 Press the Command key on your Macintosh The cursor changes into the Speaker cursor t 3 Click and drag to the r
51. you should set the RAM buffer to the largest size your system allows If you notice a time drag then try a smaller setting If you get errors such as Hard Disk Too Slow or fragmented audio increase the buffer size 100 Opcode Systems Inc CHAPTER 12 DAE Hardware Setup HARDWARE SETUP NOTE In general Opcode recommends that you consult your Digidesign manual for specifics on setting up DAE and Digide sign hardware The setup instructions and dialog boxes are identical to those used in all DAE compatible applications Before you can record and play digital audio you must tell DAE which digital audio hardware you re using To do So CG Choose Audio gt Hardware Setup The Hardware Setup dialog box opens The appearance of the dialog box changes depending on your particular audio hardware and your version of DAE Hardware Setup Interface Options Card m d24 1 v Interface Port Interface 888 24 1 0 w Sample Rate 44100 w Sync Mode Internal w AES EBU w Digital Format Ch 1 2 Input Other Options Analog v Recalibrate Inputs Figure 12 3 DAE Hardware Setup for Pro Tools 24 Hardware Setup r Select Card Type Session g Disk 1 o Interface Sample Rate r Interface Options sync Mode Ch 1 2 Input Cards To Use Other Options Figure 12 4 DAE Hardware Setup for Session 8 As seen in Figure 12 3 and Figure 12 4
52. 0O m Original Wild H S 1 2 fe Hi l o a i 25 1 0 Rec Mute Solo 3 Events 1 2 Ld Guitar MI Guitar Melody 1 1 2 Pad Guitar MI Guitar Chords 2 Pad Guitar M Guitar Chords Change the start time numerical to change the starting time of an audio event in the List Window H mo f Z gd Hi J 25 1 O a Original Wild amp Guitar Melody H Guitar Chords Guitar Chords Figure 18 30 Changing Audio Event Start Times in the List Window CHANGING AUDIO Instrument Assignments If a track contains multiple Audio Instru ments you can move audio events between them The method you use depends on which edit window you prefer Graphic Window To assign a different Audio Instrument to an audio event O Move the cursor into the center of an audio even s upper select region The cursor becomes a Vertical Move cursor Vertical Move Cursor Figure 18 31 Vertical Move Cursor Positioned over Audio Event 2 Drag the event up or down to the desired Audio Instrument audio event dragged to a new Audio Instrument Figure 18 32 Event After Moving to Another Instrument Vision amp Studio Vision Pro Audio Reference Manual 191 PART 5 Basic Audio Editing amp Playback If a track contains only a single Audio 4 Select a new Audio Instrument from Instrument use the Do gt Set Instrument the pop up menu command as described
53. 102 Select Unused 294 File Management menu 299 selecting audio events 184 M IDI Audio Strip Chart simultaneously 189 multiple tracks 189 Send mono stereo Busses 59 post fader 59 pre fader 59 Send area anatomy 57 Bus 58 no send 58 Output 58 Output Pair 58 Pre Post Fader Button 59 Send Level 59 Send Selector 58 Send area TDM 159 Pre Post Fader Button 161 Send Level 162 Send Level 277 Acadia 59 TDM 162 Send Selector Send area 58 Send Sync and ReWire 335 Sends Audio Instruments DAE 145 destinations 56 displaying 56 displaying TDM 158 uses 56 Sends column Audio Instruments window 43 Separate DSP Preferences 425 Separate command 344 separating audio automatically with Slice Audio 309 Session 8 98 Hardware Setup DAE 102 Record M onitor 113 Session Sample Rate 18 in Conversion Overview 305 setting 105 vs Hardware Sample Rate 105 302 Session Sample Size in Conversion Overview 305 setting record levels 27 118 Sharp Audio Preferences Acadia 90 Audio Preferences DAE 174 Show Audio Event Names 355 Show M asking Tape 163 Shrink Waveform Height 182 353 Signal flow in consoles 46 silence including in amix 322 removing from a mix 322 using mixed silence 323 Silence threshold in Strip Silence dialog 311 Size column in File Management window 285 Slice Audio 307 auto separating 309 vs Strip Silence 310 Slope in EQ dialog box DSP menu 368 Slot Hardware Setup DAE 102 Plug In Edit window
54. 204 at bar ETT Lt ot Comment oO 32 z FSi 32 2 Marimba Track 3 ES 32 3 E1 Grand NOTE As of QuickTime version 2 5 there is no way to import tempo track informa tion from a QuickTime movie Although the file will play back at the correct speed that speed is not indicated properly within Vision s Tempo track which always dis plays 60 bps If you wish to perform extensive editing on MIDI data that s been imported from a QuickTime movie you may want to establish a tempo track using Vision s Reclock command described in your MIDI Reference M anual Importing Audio from a QuickTime Movie There are two ways to import audio from a standard QuickTime 2 5 or later movie e You can import audio into a specific track by using the File gt lmport Audio Using Quicktime command e You can import audio into anew sequence by using the File gt Open command In both cases QuickTime audio and music files are not directly accessed Unlike the Import Audio command Import Audio Using QuickTime must extract and con vert the files into a format that Vision can manipulate and write them to your hard drive Vision amp Studio Vision Pro Audio Reference Manual 213 PART 5 Basic Audio Editing amp Playback Importing QuickTime Audio into a Track To import QuickTime audio into a track from a standard QuickTime 2 5 or later file CG Open a Graphic or List Window and set
55. 237 dB Yolume 0 000 dB 2 299 Audio 1 Volume 1 053 dB 4 216 Audio 1 Pan 8 000 4 280 Audio 1 Pan 12 000 3 180 Audio 2 Volume 1 155 dB 3 213 Audio 2 Yolume 1 377 dB 3 435 Audio 2 Yolume 1 597 dB Figure 23 5 Automation events in the List window NOTE Any automation events you record in the Console Window are displayed in List Windows as shown in Figure 23 5 Using the Faders Window You can also use the Faders Window to control volume and pan for Audio Instruments a Proteus 2 13 E Proteus 2 14 E L 5350 E k 5H F udio 1 E Audia 2 E dAudia 3 Tempo Off Range 40 360 Settings Send a Tt 32 volume CT Yolume C7 Figure 23 6 Typical Faders Window IMPORTANT The Faders window numer icals always display a range of values from 0 to 127 This does not directly correspond to values for audio volume to the M axi mum Fader Position setting or audio pan 100 00 to 100 00 The 0 to 127 scale is mapped onto the appropriate scale for the automation type when recording and cor rect values are written into the track To see the appropriate range of values for audio volume and pan use the Consoles window rather than the F ader window You can adjust audio volume and pan levels by dragging the graphic faders or by controlling them with a remote device Vision records fader movements as auto mation events assigned to specific Instruments and automation types M
56. 3 The Acadia Audio System Mutes and Solos These columns let you mute and solo the items in the Audio Instruments amp Rout ings Window M uting and soloing occurs across MIDI and Audio Instruments hardware inputs and outputs and busses If you therefore solo a hardware input playback of MIDI and Audio Instruments will be muted along with busses NOTE Hardware outputs cannot be soloed and therefore do not havea Solo column To mute or solo an Audio Instrument input output or bus CG Click the Mute or Solo column next to the desired audio channel This places an M or S in the column to indicate whether the audio channel is muted or soloed 0 Audio Instruments amp Routings f 8 Audio 1 Snd Mngr o Flute Snd Mngr 0 Audio 3 Snd Mngr o Audio 4 Snd Mngr 0 Audio 5 Snd Mngr o Audio 6 Snd Mngr 0 Audio 7 Srid Meow n Soloing occurs across MIDI and Audio Instruments inputs and busses Soloing an audio channel mutes all unsoloed Audio and MIDI Instruments and inputs and busses Click again to disable an audio channel s mute or solo Buttons for mute and solo also appear for audio channels in the Console Window and for Audio Instruments in the Graphic Window Clicking a M ute or Solo button in any location echoes it to the others When anything is soloed the Global Solo Indicator button appears in the Control Bar which is helpful if you ve forgotten about a clicked
57. 3 do not play because Audio 2 is soloed IMPORTANT Soloing an Audio Instru ment in the Graphic Window affects all Instruments MIDI and audio playing back for the entire sequence 246 Opcode Systems Inc CHAPTER 22 Auditioning Audio Auditioning with the Audio Instruments Window The M ute and Solo buttons in the Graphic Window are duplicates of the M ute and Solo columns in the Audio Instruments Window te fu udio 2 udio 5 AU dio Instrun er go a Audio 4 FE Andi it If you wish you can use the Audio Instru ments Window to mute and solo Audio Instruments For more information about the Audio Instruments Window see one of the following chapters e Acadia See Chapter 6 Acadia Audio Instruments amp Routings Window e DAE See Chapter 15 DAE Audio Instruments AUDITIONING INDIVIDUAL AUDIO EVENTS NOTE This method works best for small sections of audio such as individual words or phrases If you wish to audition large sections of continuous audio such as an entire verse or chorus use the Audio Instrument auditioning method discussed in Auditioning Individual Audio Instru ments pg 245 The following sections discuss how to audition multiple audio events in a track Breaking Up Audio Events Generally when you record audio you record long sections Such as an entire verse or chorus When you do this Vision creates a single audio event and assign
58. 35 7 Crossfade Parameters in Fade Crossfade Dialog Box Crossfade Enable Disable option Check this box to enable the creation of crossfades If you don t want Vision to generate any crossfades when you process the selected audio uncheck this box For example if you may want to create only fade ins or fade outs then dis able the crossfade option Crossfade Length Enter the desired crossfade length If the Set fade crossfade lengths pop up at the top of the dialog box Is set to use selection range then this field is disabled since it s set automati cally to the length of your audio selection Crossfade shape Select the desired crossfade shape linear or equal power from this pop up menu The choice you make is indicated graphically in region Linear This type of crossfade fades out one file linearly while the other fades in linearly E qual Power This type of crossfade uses non linear fades and is useful when linear crossfades exhibit a decrease in volume Crossfade Position Select the location of the splice point from this pop up menu The choice you make is indicated graphically in region 374 Opcode Systems Inc CHAPTER 34 DSP Menu EQ and Fade Crossfade BEFORE places the crossfade region before the splice point CENTERED places the cross fade region centered over about splice point AFTER places the crossfade region after the splice point P E S
59. 49 ReBirth launching with Vision 332 quitting with Vision 332 Remote Start 336 using via ReWire example 331 Rebuild Waveform 183 File Management menu 298 Record Enable Indicators Record M onitor Acadia 22 Record M onitor DAE 110 record file designating 26 116 disabling 27 117 Record M onitor 23 111 Record File Options Record M onitor DAE 111 record levels Record M onitor 22 110 setting 27 118 Record M onitor anatomy of 22 Auto 23 Auto Compact 23 243 Opcode Manual Template 447 Index available recording time 23 clipping indicators 23 Instrument 23 Link Pairs 23 Off 23 On 23 opening 21 record enable indicators 22 Record File 23 record levels 22 record source 22 Sample Size 23 Thru 23 variations in appearance 24 Record M onitor DAE Auto 111 Auto Compact 111 Available 111 Clipping Indicators 110 Instrument 111 Link Pairs 111 Off 111 On 111 QuickPunch 111 Record Enable Indicators 110 Record File 111 Record File Options 111 Record Levels 110 Record M onitor menu 110 Source 110 Thru 111 Record M onitor menu 22 Audio Recording Preferences 240 in Record M onitor DAE 110 Record Offset determining 93 record source 22 recording a track in Acadia 29 a track in DAE 120 appending to files 239 automation 264 closing releasing a file 238 Console fader movements 259 different takes 237 from Audio Instruments Acadia 80 from Audio Instruments TDM 170 from Audio Instruments Busse
60. 8 you essentially have a Pro Tools III system For more informa tion see Pro Tools 111 24 M ix M ix Plus pg 143 144 Opcode Systems Inc CHAPTER 15 DAE Audio Instruments Pro Tools amp Pro Tools Il If you re using multiple Pro Tools cards and a System Accelerator card you will see outputs displayed in groups of four each group represents a 4 channel Pro Tools system If you have an 8 track Pro Tools system an Audio Instrument can only be assigned to outputs that are in the same group of four For example if Audio l is assigned to Output 1 it can also be assigned to Output 2 Output 3 and Output 4 It cannot be assigned to Outputs 5 through 8 If you have a 12 track or 16 track Pro Tools system then an Audio Instru ment can only be assigned to outputs that are part of the same pair For example If Audio 1 is assigned to Output 5 it can also be assigned to Output 6 it cannot be assigned to any other output without dis abling Output 5 If in an 8 track system you enable an output for an Audio Instrument that s cur rently assigned to a different output grouping Vision will automatically dis able any output assignments in that Original grouping SENDS AND PLUG INS COLUMNS These columns let you monitor the number of assigned sends and plug ins for Audio Instruments inputs outputs and busses The individual fields for each column are for display purposes only you cannot cl
61. Area Plug in Edit button Plug In Type _ E H Bypass button Plug in Selector pop up Figure 7 4 Plug In area The Plug In area once enabled consists of the following items Plug in Edit button Click this button to open the Plug n Edit Win dow where you can edit store and recall plug in programs P f INYL for Audio 1 H Plug In VINYL Channel Audio 1 Template v Slot 1 rh Program 1 Default za Setup Copy toB Figure 7 5 Plug In Edit Window The Plug In Edit button also displays the console channel s plug in number 1 4 For a complete explanation of the components in the Plug In Edit Win dow please see Chapter 8 Acadia Plug In Edit Window 50 Opcode Systems Inc CHAPTER 7 Acadia Audio Channels in Consoles Plug in Selector pop up Choose a plug in from this pop up menu to assign it to the console channel or choose no plug in to remove the current one Only those plug ins that will work for the selected audio channel and slot are displayed in the Plug In Selector pop up Plug In Type Indicates whether the plug in s input and output are mono or stereo which in turn determines the type of plug in that can be used see M ono and Stereo Plug Ins pg 51 mono in mono out ry mono in stereo out stereo in stereo out When there is no plug in assigned the indicator is grayed out B ypass bu
62. Audio 2 3 Press and hold the mouse on the name of the Instrument you wish to reassign Vision opens a pop up menu of Instru ment choices Instruments for Wild Guitar 4 Select a new Instrument assignment from the pop up menu CHANGING AUDIO EVENT LENGTHS Audio Events and Track Length If the beginning of an audio event falls within the track length but any portion of it falls beyond the end of the track that portion will not be played by Vision If the track loops then the portion of the audio event that s past the end of the sequence will play If you check the Sustain audio across segments options in the Settings Win dow an audio event that s played from a sequence event will continue to play after its parent sequence has ended See your 194 Opcode Systems Inc CHAPTER 18 Working with Audio Events M IDI Reference M anual for more infor mation about the Sustain audio across segments option In order to always hear the entire event you need to manually adjust the track length to accommodate its end point just like you need to adjust the track length to accommodate M IDI note events that extend beyond the end of the track Usea track length numerical in any window to change a track length Trimming or Lengthening Audio Events You can trim or lengthen audio events by simply dragging inward from the side you want to trim or outward from the side you want to lengthen Th
63. Audio CO 1 Eject Be Desktop Al Convert Preview 4 In the dialog box navigate to the CD select the track number you wish to import and click Convert A Save As dialog box appears S audio files Y 2 Groove aiff 4 Hide n Seq Cross 2 ma Jupiter 8 L 03 groove e Jupiter 8 L 16 clicks Jupiter 8 L 41 insane arp Save converted file as Track 2 Movie Vision amp Studio Vision Pro Audio Reference Manual 217 PART 5 Basic Audio Editing amp Playback 5 Navigate to the folder or volume in which you want to save the file and type the desired name NOTE If you re using digital audio hard ware that requires its own dedicated hard disk such as Pro Tools III IV you should import the audio onto the disk that s connected directly to your audio hardware not the disk that s connected to your computer s SCSI port If you don t you won t be able to play the imported audio Click the Options button The Audio CD Import Options dialog box appears Audio CD Import Options Settings Rate 22 050 KHZ Size 8 bit 316 bit Use Mono Stereo Audio Selection Track Track 2 Start 00 00 End 00 542 Figure 20 9 Audio CD Import Options Dialog Box Configure the dialog box as desired Use the Rate pop up menu to select the desired sample rate of the imported file To maintain CD quality audio u
64. Audio Instrument Vision amp Studio Vision Pro Audio Reference Manual 211 PART 5 Basic Audio Editing amp Playback IMPORT SHORTCUTS Graphic Window You can easily import files by clicking with the Pencil tool anywhere in the Graphic Window s Audio Pane at the loca tion where you want to enter the file This will open the Import Audio dialog box List Window In a List Window there s an additional way to open the Import Audio dialog box CQ Set an input edit point in the List Window 2 Press and hold the Insert Events button Vision opens a pop up menu EQ Band Parameter System Exclusive Sequence Event b d d b b 3 Select Audio Event from the pop up menu Vision opens the Import Audio dialog box OTHER IMPORT OPTIONS The following sections discuss all the other import options available in Vision Importing MIDI from a QuickTime Movie You can import M IDI data contained ina QuickTime movie directly into a new Vision sequence To do so CG Select File gt Open An Open dialog box appears G STFICS etc gt Power HD g Eject CI STFTCS C Studio Vision files What to Open O Use Setup Instruments 2 Locate the QuickTime file you wish to open select it and click Open What happens next depends on what type of data is contained in the Quick Time movie Specifically 1 If the movie contains only MIDI data then Vision imports
65. Audio Instrument Unique Number udio 1 002 Document Name Sequence Name Track Name Custom Prefix ave with sequence fi To specify a default suffix select it from the right most pop up menu as shown below Create unique filenames by concatenating TrackName Audio Instrument Unique Number Example Track 1a Put Name Custom O Save with sequence files Cancel Opcode Systems Inc CHAPTER 21 Advanced Recording Techniques You can enter a custom prefix and or suffix by selecting the Custom option from either pop up menu Enter a custom prefix maximum 16 characters Movie Score The area below the pop up menus always shows an example of how your default file names will appear Create unique filenames by concatenating Document Name Audio Instrument Unique Number Example LeadGtr_Left 001 N Example of how file names will appear Save with sequence files Check this option if you want each Vision file to remember its own Audio Recording Preference This lets you set completely different sets of prefer ences for different files keeping your hard disk and separate recording projects more organized If this option is unchecked all sequence files will use your most recent preference selections Auto Compacting a File Compacting is a process that frees disk Space It retains the audio data that s used in the current sequence and throws
66. Audio Send area Send Selector Pre Post Fader button Send Level NOTE The Pre Post Fader button and Send Level numerical are disabled and invisible until you select a send destination using the Send Selector This provides a visual way to quickly locate active channel sends on a busy mixing console The following sections discuss each of the Audio Send parameters in detail Vision amp Studio Vision Pro Audio Reference Manual 159 PART 4 Digidesign DAE Configuration amp Recording Send Selector Use the Send Selector to tell Studio Vision where to send the audio signal Press and hold the mouse on the Send Selector Studio Vision opens a pop up menu of routing options 1 2 Output Fair p Z You can choose between the following audio send destinations e No send The audio signal is not sent to an external output or bus e Bus Choosing this option opens a sub menu from which you select one of 16 busses to which you want to send the audio signal Sending audio to a bus is a great way to create submixes or to share a single TDM plug in with numerous Audio Instruments For more infor mation see Sending Audio to an Internal TDM Plug In pg 162 Busses can be mono or stereo For more information see page 139 Output Choosing this option opens a sub menu from which you select the monophonic output to which you want to send the audio signal The number
67. Audio Techniques 3 Move all audio events to the same Audio Instrument by dragging them in the Graphic Window H E 0 m 10 ste 0 5 ha A ed Baca AP C CC F T E CE Figure 22 7 New track after assigning all audio events to the same Audio Instrument 4 Delete the original track containing all your audio events IMPORTANT Don t do this if the track contains other audio events or MIDI events you wish to keep 252 Opcode Systems Inc CHAPTER 23 Adjusting Volume and Pan Y ou can adjust the volume and pan set tings for audio in many different ways You can e Usethe List Window to Insert volume or pan controller events at specified times or e Usethe Strip Chart to draw controller events over time or e Use either the Console or Faders Windows to record automation for audio volume and pan This chapter begins with a discussion of velocity volume and pan It then teaches you each of the different methods for con trolling audio volume and panning WHO SHOULD READ THIS CHAPTER This chapter applies to all of the audio systems supported by Vision For details about the information dis cussed in this chapter please see Chapter 24 Automation aT era eT THE DIFFERENCE BETWEEN VELOCITY AND VOLUME You can assign audio volume events to Audio Instruments Audio volume events affect every audio event that s assigned to the same Audio Instrument Y
68. Audio toM IDI Ta a A 396 How Vision Converts Audio Data to M IDI Data 0 396 AUO TO MIDIFU SOS rusio aana 396 Using the Audio to M IDI COMMand ssssessresrrrerrrrerrrrerrrenns 397 The Basic Audioto M IDI Dialog BOX cccceeescsseseseseeeeees 398 The Expanded Audio to M IDI Dialog BOX eeeseeeeeee 400 Creating Custom Audio TeMplate ccccssesssessseesseeseees 405 Re Analyze Audio cccccsscsssssssssscssseesssesseesssressseessseeesseesseseeaes 406 DEO UO Toran 406 The MIDI to AUdIO Dialog BOX eccesssesssressssresesseeesstens 407 Using the MIDI to AUdIO COMMANG ccccessseseeseteeeeeeens 408 Using the Process Note Until Options essere 415 CHAPTER 37 DSP Menu Premiere Plug Ins and DSP Preferences 419 Premiere PUG ANS aans ll lavnenain 420 DSP Preleren CS vsivessosbtterocteahieheantratetantseeetitou a autores o 423 PART SEVEN Index 431 Opcode Manual Template xi Table of Contents xii Opcode Systems Inc Introduction to Digital Audio Vision amp Studio Vision Pro Audio Reference Manual 1 PART 1 Introduction to Digital Audio 2 Opcode Systems Inc CHAPTER 1 Vision is recording and sequencing soft ware that combines MIDI sequencing with direct to disk digital audio sequencing ne a An ad i a ONA USING YOUR VISION MANUALS Vision ships with two manuals e MIDI Reference Manual This manual provides detailed information abo
69. Bee eee i Input 7 SOOO BC Crone 4 Input 8 SOCORRO A C Crone Thru Auto H QuickPunch L Auto Cor If prompted with a message indicating that QuickPunch is unavailable go to the Audio Instruments Window and free up the necessary number of audio voices corresponding to the number of inputs record enabled For instance if your audio hardware has 16 voices and each 128 Opcode Systems Inc CHAPTER 14 DAE Recording Audio of your Audio Instruments is assigned to a different voice 1 16 simply reassign Audio 16 to voice 1 Output 1 2 Output 1 2 Output 1 2 Figure 14 8 Changing the voice assignment for an Audio Instrument Once the required number of audio voices are available try enabling Quick Punch again by clicking its checkbox in the Record Monitor Window 9 Click the Play button in the Control Bar or press the Spacebar Vision begins playing from the Punch In point with the existing track material being heard The Available fields in the Record Monitor Window begin counting down When the desired location is reached where you want to punch in press the Tab key or click the Control Bar s Record button Vision begins recording audio The exist ing track material is muted and the record source material becomes audible D When you wish to punch out press the Tab key or click the Record button Vision stops recording audio but contin ues playing The exis
70. DSP settings very frequently 424 Opcode Systems Inc CHAPTER 37 DSP Menu Premiere Plug Ins and DSP Preferences If you check the Bypass Save As Dialog option then the Save As dialog box never appears This is con venient if for example you establish an auto naming technique default storage folder and audio format that you don t intend to change You can also bypass the Save As dialog box by checking the Bypass Save As Dialog option in the Save As dialog box itself When you do that the Save As dialog will be bypassed only for the DSP command you are currently using IMPORTANT If you check the Bypass Save As Dialog option the only way you ll ever see the Save As dialog again is to choose the DSP Preferences command and uncheck this option Therefore it s important that you check this option only if you don t intend to alter file options very frequently Since these options can be enabled or disabled individually for each DSP command they provide an invaluable time savings to the busy recording engineer or composer NOTE Ifa particular option does not apply to the chosen DSP command It is disabled Audio Events option Use this option to tell Vision how to create processed audio events when your original selection included only a portion of an audio event Audio Events When processing samples in 1 1 1 3 ti 2 5 atii a selected range create One Event Cless events la
71. IDI controllers velocity scale audio volume and audio pan Your M IDI Reference M anual contains a complete description of how to use faders Vision amp Studio Vision Pro Audio Reference Manual 259 PART 6 Advanced Audio Techniques The following sections discuss those areas that apply specifically to digital audio Mapping Volume and Pan to Faders To assign an automation event to a fader CG Choose Windows gt Faders Vision opens the Faders Window 2 Make sure the Fader Window is set to Send mode ie Tempo Off Range 40 360 Settings Send M 17 32 57 Click to toggle between Send and Receive modes 3 Click the selector dot of a fader you want to assign to an Audio Instrument Volume 7 Volume 7 By default Vision assigns the corre spondingly numbered Instrument to the fader It also assigns a Volume controller to the fader To change these settings 4 Press and hold the mouse on the Instrument name and select the desired Audio Instrument from the pop up Instrument menu volume 7 Volume 7 Pan 10 ihe Gr Range 40 00 Sgp Send O s2 a Select the desired Instrument from the pop up menu NOTE You can also choose MIDI instru ments busses inputs and outputs Click on the controller name to toggle between pan and volume volume 7 ie Click to toggle between two choices 1 assigning the fader to Volume or 2 assigning
72. Instrument to a bus The bus becomes stereo Remember you cannot record pan or pan automa tion from an Audio Instrument Make sure no other instruments are sent to this bus 2 Record from the bus When you move the Audio Instrument s pan fader left and right the effect is recorded A couple of potentially confusing situa tions and their causes e Audio 1 is mono but it has a mono to stereo plug in assigned You try to record with Linked Pairs unchecked and Studio Vision tells you that you can t In this case you will need to record the Audio Instrument to a linked pair or disable the mono to stereo plug in e Audio l is mono and its main output is set to Bus 1 You try to record from Bus 1 with Linked Pairs unchecked As aresult Studio Vision gives an error message of since Audio 1 Is mono so Bus 1 should also be mono Remember that when the main output goes to a bus it goes post pan fader and the bus becomes stereo If you assign a send to Bus 1 instead the bus will be mono and you can record it as a mono track e Audio l is mono and its Send is assigned to Bus 1 and is set to Pre Audio l also has a mono to stereo plug in If there were no plug ins or only mono to mono plug ins Bus 1 would be mono However the bus is stereo because of the mono to stereo plug in For more information on TDM bussing and determining when one is stereo or mono see Audio Sends pg 158 TIP To determine
73. Instruments via busses Once the audio is recorded with the effects there is no need to process these channels further you should however probably keep a backup of the original unprocessed audio files For details on bouncing audio chan nels to disk see Recording from Audio Instruments Busses and Outputs pg 79 Following are just a few more things you can try to free up more CPU resources e Cut down on the number of control panels and extensions that are enabled these can eat up memory and CPU resources Use the E xten sions M anager control panel to create a lean start up configuration for use with Vision e If using a PowerBook disable uncheck the option for Allow pro cessor cycling e Reduce the number of colors you are displaying in the Finder Vision only uses 256 colors Do this from the M onitors amp Sound control panel e Make sure you aren t running any other programs in the background while using Vision e n OMS Setup make sure QuickTime M usical Instruments are disabled e In Vision close unnecessary windows 84 Opcode Systems Inc CHAPTER 11 Acadia Optimizing for Digital Audio e In Vision uncheck Detailed Track Overview in the Tracks Window menu e In Vision set Audio gt Waveform Dis play to either Fast or Off e In Vision disable any unused hard ware inputs and outputs in the Audio Instruments amp Routings Window Graphics Ca
74. List window 255 in Strip Chart 256 volume vs velocity 253 W WAVE in Audio Format dialog 228 Waveform Display 182 354 and Slice Audio 309 and Strip Silence 308 Fast 182 High Resolution 182 Off 182 Waveform Height 182 353 Automatic 182 Grow 182 key equivalents 353 Shrink 182 Where Is see Find File Width EQ Band parameter 278 Z Zero Crossings 180 zero crossings and the M ix command 181 Use Zero Crossings option 314 using while editing 180 zooming audio events 179 Opcode Manual Template 453
75. Manual 93 PART 3 The Acadia Audio System After entering the Record Offset in the Audio Preferences dialog as determined by the previous procedure you are ready to determine an optimum Play Offset for your audio hardware Route the output of your audio hardware back into one of its inputs 2 Record a copy of the record offset file from the previous steps Assign this material to Audio 2 and name the record file play offset 3 As done previously perform Strip Silence on the newly recorded file 4 Combine the newly recorded play offset track with the previous track containing the MIDI notes and record offset audio events 5 View the contents of the combined track in the List Window Again make sure Absolute SMPTE is checked in the List Window menu Sequence A Track 1 0 00 00 00 00 00 LinnDrum HiHat 1 2 M record offset 4 M play offset 0 00 00 00 15 00 LinnBrum HiHat 1 2 00 00 00 15 55 Audio 1 M record offset 4 00 00 00 16 05 Audio 2 M plan 277 0 0n Ars j 00 00 00 00 55 Audio 1 00 00 00 01 05 Audio 2 Make note of the difference in SMPTE bits between the audio events for Audio 1 record offset audio and Audio 2 play offset audio In the above example the distance between the first two events is 30 bits If this number varies throughout the recorded mea sures try to find an average value Remember ther
76. Mix pg 320 There are differences between mixing audio using an Edit gt Capture command and mixing audio using the DSP gt Mix command For details about all digital audio mixing operations see Chapter 28 Mixing Digital Audio Bouncing ACTIVE IN BACKGROUND Checking Active in Background tells Vision to not release DAE when switching out of Vision to another application NOTE Activein Background is only avail ableto DAE users All other hardware users will have this item grayed out AUDIO PREFERENCES The appearance of the Audio Preferences dialog box changes depending on which audio system you re using e Acadia See Chapter 11 Acadia Optimizing for Digital Audio e DAE See Chapter 17 DAE Audio Preferences 356 Opcode Systems Inc CHAPTER 33 DSP Menu Mix Normalize Reverse Invert Phase and Convert Sample Rate The DSP menu contains numerous algo rithms designed to process audio completely within the digital domain This chapter deals with the first five com mands in the window M ix Normalize Reverse Invert Phase and Convert Sample Rate MiX Normalize Reverse Invert Phase Convert Sample Rate Figure 33 1 DSP Menu DSP commands are constructive mean ing they create new audio files without altering your original audio data DSP commands work on mono stereo interleaved or linked audio files with bit depths of 8 16 or 24 If you
77. Opcode Systems Inc CHAPTER 32 The Audio Menu Audio Retain R separate T Strip Silence Slice Audin Get Event Info Edit Event Soundfile Link Events File Management Conversion Overview Buffer Size Sample Rate sSize Hardware Setup Audio System d Waveform Height a Waveform Display Show Audio Event Names Mix Audio on Capture Active in Background Audio Preferences Figure 32 1 Audio Menu This chapter discusses each of the Audio menu commands M any of these com mands are covered in detail by earlier chapters though this chapter will give you a general overview of each command before cross referencing a related chapter RETAIN When you choose this command Vision retains only the audio in the selected region and clears all data comprising the rest of the selected audio event s Like all edit operations if you have multiple events in the track only the events selected will be affected To use the command Select a region of audio you wish to retain You can select across all audio events for a time region as shown in this exam ple or you can select a region of time Vision amp Studio Vision Pro Audio Reference Manual 343 PART 7 Menus within a single Audio Instrument Audio selection techniques are discussed in Selecting Audio Events pg 184 Audio in this region will be retained Audio in this region will be trimmed
78. Qoa me det 44100 Mone 16 nna Figure 25 12 After choosing Remove from List For more information about Select Unused see page 299 For more informa tion about Remove from List see page 299 Move to Folder Move to Folder moves the selected audio file s into the specified folder Unlike Copy to Folder Move to Folder does affect the original files Move to Folder automatically updates all references to the audio file so that they point to the file in its new location After selecting one or more audio files and choosing Move to Folder the follow ing dialog box appears Select a folder to move file s to C Las Estrellas Thase CI En El Cielo audio E Eject New Cl Select En El Cielo audio open If all the selected files and the destination folder are on the same volume the files are moved to the selected folder You cannot move files across volumes This is a function of the M acintosh operat ing system If you select a folder on a different volume when using Move to Folder you will be prompted with the fol lowing dialog 294 Opcode Systems Inc CHAPTER 25 File Management Files cannot be moved to a different volume Would you like to copy the selected files instead Click Cancel to abandon the procedure Click OK to copy the file s to the selected folder After the copy procedure is complete you will be prompted to replace ref
79. RAM and System software requirements e A fast and defragmented hard disk The faster your hard disk the more simultaneous voices Vision can play For optimum performance Opcode recommends using a SCSI hard disk driver that supports asynchronous disk I O You will achieve improved audio per formance if you frequently defragment your hard disk Opcode strongly encourages you to use defragmentation software before recording audio For the very latest system requirements and recommendations check the Opcode Web site http www opcode com ee SET VISION TO THE ACADIA AUDIO SYSTEM To use Vision with your ASIO compatible hardware select Audio gt Audio Sys tem gt Acadia to place a check mark next to the option Audio System d DAE Acadia MIDI only Figure 3 2 Selecting the Acadia audio system HARDWARE SETUP Before you can record and play digital audio you must tell Vision which ASIO driver you re using When selecting the Acadia audio system for the first time the default ASIO driver is Opcode s Sound M anager driver 14 Opcode Systems Inc CHAPTER 3 Acadia Hardware Setup To specify a different ASIO driver Choose Audio gt Hardware Setup The Hardware Setup dialog opens Hardware Setup Device Sound Manager Sample Rate 44100 Clock Source Open Control Panel Figure 3 3 Hardware Setup dialog for the Acadi
80. Signal present at Input 1 to Output 8 This means that the signal present at Input 1 always appears at Output 8 even when e input 1 is not record enabled e the Thru selector pop up menu is set to Off e you change the Audio Instrument assigned to Input 1 in the Record M onitor Window e Studio Vision is playing recording or simply idle Also if you create any Audio Sends or TDM Inserts they too operate on the input signal This gives you a way to create a virtual mixing board within Studio Vision 168 Opcode Systems Inc CHAPTER 16 TDM Bussing Routing amp Plug Ins SF RECORDING FROM ALTERNATE SOURCES IN THE TDM CHAIN You can choose practically any place in the TDM chain as recording source This allows you to record digitally across the TDM bus without having to patch asingle cable UsingaTDM system Studio Vision allows recording from physical inputs SampleCell TDM Audio Instruments or busses Some of the uses for this are e Recording a master mix with all TDM effects in real time for a bounce to disk mix To do this route all chan nels to a single bus and record from it e Record the output of SampleCell directly as audio into Studio Vision e Print the effects from a track You can record from the output of an Audio Instrument to record its TDM Insert effects e Create multiple submixes from bus ses For example you could use Opcode s fusion VOCOD
81. Smooth Audio Controllers em ae Figure 11 6 Audio Preferences Smooth Audio Controllers Fade duration The Smooth Audio Controllers section lets you smooth out rapid changes in volume and pan for audio thereby elimi nating unwanted clicks and pops The Fade duration value sets the length of the smoothing ramp used when encountering abrupt changes in volume and pan You can manually enter a value between 0 200 msecs or you can click on one of the four preset buttons which include None 0 Sharp 50 Medium 100 or Smooth 200 For instance Figure 11 7 displays an audio signal with abrupt changes in amplitude 78 100 ms 68 66 64 100 ms 50 ms Sharp Changes is amplitude can cause unwanted clicks and pops Figure 11 7 Abrupt amplitude changes for original audio envelope 90 Opcode Systems Inc CHAPTER 11 Acadia Optimizing for Digital Audio If we set the Fade Duration to 100 ms by clicking the M edium button Vision will automatically smooth the signal within 100 ms of the amplitude change Smoothing ramps created by a Fade duration of 100 ms Figure 11 8 Smoother amplitude changes after applying Smooth Audio Controllers Dither Outputs Dither Outputs Figure 11 9 Audio Preferences Dither Outputs Once audio has been recorded or imported into Vision it is processed and routed using floating point calculations which is more flexible and precise than usi
82. THE EXCLUSION OR LIMITATION OF LIABILITY FOR CON SEQUENTIAL ORINCIDENTAL DAMAGES THE ABOVE LIMITATIONS MAY NOT APPLY TO YOU ACKNOWLEDGMENTS Program by Dave Oppenheim Ray Spears Dan Timis Aron Nelson David Willenbrink Andy Wolpert Doug Wyatt Daniel Steinberg Dave Scoggin Larry Gerndt Tom Padula Harvey Thornburg Special thanks to M uscle Fish Quality Assurance M ike Rogers James Livingston Darin M arshall Product Management Jonnie Gillham Documentation Gregory A Simpson Timothy Self Greg Thomas Boris Popkoff Angela Hill Manual Design Gregory A Simpson Technical Editing Dan Timis Greg Thomas Table of Contents TABLE OF CONTENTS PART ONE Introduction to Digital Audio 1 CHAPTER 1 CHAPTER 2 Introduction Using Your Vision M anuals sees Versions Of VISION veceecccccccceceeeeeeeeeeeeeeeeeeens Introduction to Digital Audio eserse About the Audio Reference M anual Basic Terminology Outputs Voices and Audio Instruments Audio Files and Audio Events 008 A Picture S Worth PART TWO Acadia 11 CHAPTER 3 CHAPTER 4 Acadia Hardware Setup The Acadia Audio System n se System REQUIFEMENTS ccsceesesteeseteess Set Vision to the Acadia Audio System Hardware SQtup ccccssssccssseessseesssressseesens The Session Sample Rate asee Active IN Background sesser Acadia Record Monitor Window Opening the Record M onitor Window
83. TOOLS PROJECT SESSION 8 SYSTEM ACCELERATOR Be sure to select a hard drive that s connected directly to your audio card not to your Mac s SCSI port Click the Save button The name of your record file is displayed in the Record File column the Record Enable Indicator is lit indicating record ing on that input is enabled and the amount of available recording time is dis 116 Opcode Systems Inc CHAPTER 14 DAE Recording Audio played in the Available column as determined by the amount of free space on your hard disk In the future anything you record on this input will automatically be recorded into this record file using the Sound Designer II format O Record Monitor B 45 26 10 2 Clip Record File Available Instrument D LongTime Fix Audio 1 00 16 14 Audio 5 Omuz SAARI a C Cone Audio Gmuts annnnnannnnnnat a C Cone Audio anoononanaananna gt If the selected Audio Instrument is stereo and Link Pairs is not checked when you enable an input Vision will prompt you will the following dialog The recording instrument Audio 2 is A stereo When recording without Link Pairs the Instrument pop up should use a mono Audio Instrument Would you like to make Audio 2 mono Click Cancel to leave all Audio Instru ments stereo status untouched and return to the Record M onitor Click Don t M a
84. The Automation submenu contains the following types of events Audio Volume Audio Volume events effect the play back volume level of Audio Instruments Busses Inputs and Outputs Audio volume events can have values ranging from to 24 dB However since the Maximum Fader Position setting defines the maximum value that can be displayed in the Consoles or the Faders window audio chan nels in Consoles can only have values ranging from to the Maximum Fader Position setting The Maxi mum Fader Position can be 0 6 12 or 18 dB This setting is defined under Audio gt Audio Preferences For information about Maximum Fader Position in Acadia mode see page 89 For information about M axi mum Fader Position in DAE mode see page 173 In previous versions of Vision audio volume events had the same 0 to 127 range that MIDI volume events have When files created in previous ver sions of Vision are opened into version 4 5 or later their audio volume events or fader events assigned to volume for an audio instrument are remapped to take advantage of the new range of audio volume values Audio Pan Audio pan events effect the placement of audio events in the stereo field left to right Audio pan events can have values ranging from 100 000 to 100 000 These events work just like MIDI pan events but can be much more spe cific and are assigned to audio instruments M IDI events have pan values from 6
85. V Compressor2 stereo stereo sterea steren stereo stered tsteren steren Estereo Snd Hngr ASSIGNING EQ The Acadia audio system lets you assign up to 4 bands of EQ for each audio chan nel The four bands connected in series can each be independently set to EQ types of Low Cut Low Shelf Parametric High Shelf or High Cut To enable display of the EQ area for your audio channels in the Console Window Choose Windows gt Consoles gt Console 1 The Console Window opens 2 From the Console Window menu choose Build Console From gt Audio Instruments Each of your Audio Instruments is auto matically assigned to a console channel Console 1 l El z E l on N x N nd Mngr N r F nd Mngr nd Mngr nd Mn S E o a B Si pa NOTE You could manually assign indi vidual channels to only those Audio Instruments used in your sequence but this method provides a quick way to create a single console that controls all of your Audio Instruments Vision amp Studio Vision Pro Audio Reference Manual 53 PART 3 The Acadia Audio System 3 From the Console Window menu choose EQs gt Gain Faders O H Console Channel Width b fa Audio Sends gt Plug Ins p it EQs ian Hidden Basic Gain Faders Show Selected Fader Info Show All Fader Info Show Remote Devices
86. Window and set an Edit In Point Alternately you could click in the Track Overview area of the Tracks Window to automatically set an Edit In Point for the desired track 2 Choose Audio gt Import Audio Vision opens the Import Audio dialog box This is the standard Digidesign Import Audio dialog box found in all DAE compatible applications Select something to import a McG3 Gp Samples J Finger Snap Items in current file Items currently chosen a Hi Hat Open Close a 808 Claps Bongo Chicken Short Tamborine w Be oCo File Type Audio IFF AIFF Sample Rate 44100 000 Sample Size 16Bit Mono Duration 0 00 00 29 Remove Figure 20 3 Import Audio Dialog Box for DAE About the DAE Import Audio Dialog Box As shown in Figure 20 3 the Import Audio dialog box contains many ele ments Specifically File and Item lists Action buttons Sound File information Audio preview controls Each of these items is discussed in the fol lowing sections Vision amp Studio Vision Pro Audio Reference Manual 209 PART 5 Basic Audio Editing amp Playback File and Item Lists The Import Audio dialog contains three scrolling lists Left list This is a standard list of fold ers and files on your hard disk Use this to find the audio files on your hard disk M iddle list This list shows the items available for import in the selected file Right list This list sho
87. Window menu Vision resets its colors to their default values Enabling Inputs and Outputs Inputs and outputs are unique in that they have an option for being enabled and dis abled from the Audio Instruments amp Routings Window To enable an input or output place a checkmark next to it in the Name column Instruments no output no output no output tno output Analog L x a o o o Analog R l Figure 6 5 Enabling disabling inputs By default only the first two of your hard ware inputs are enabled To enable more simply place a checkmark next to the desired items All hardware outputs are enabled by default To disable an input or output click on a checkmark to remove it Disabled items are unavailable grayed out in the pop ups in the Record M onitor and Console Windows Inputs and outputs are always enabled or disabled in pairs For instance placing a checkmark next to Input 1 also automat ically places a checkmark next to Input 2 NOTE Enabled inputs and outputs con sume valuable CPU resources Therefore to preserve CPU resources disable any inputs and outputs not in use IMPORTANT Enabling a digital input may change the Clock Source in the H ard ware Setup dialog from Analog to Digital If you wish to record from only your analog inputs make sure all digital inputs are disabled Vision amp Studio Vision Pro Audio Reference Manual 39 PART
88. addition you should assign a different Audio Instru ments to each input or linked Input pair as discussed in Assign an Audio Instrument pg 119 When recording with Link Pairs checked you should use stereo audio instruments gt Record Monitor H 2 Clip Record File Available Instrument S99 8 OC Untitled Audio 1 001 Audio 1 9 stereo goss C imone Audio 2 stereo udio steren Audio 4 kateren p Audio S monol Audie amp Crone Audio fe n LI Auto Compact Figure 14 4 Choosing a stereo instrument For more information about mono and stereo Instruments see Stereo Audio Channels pg 139 Recording Multiple Takes Its common to record a particular perfor mance numerous times Each performance is called a take By recording numerous takes you can later choose the best performance or perhaps assemble a new performance from the various takes There are a two different techniques for storing multiple takes e Youcan record all audio takes into a single record file This method keeps all audio informa tion together in one place making it easy to find and backup audio performances e Youcan record each audio take into a separate record file This method keeps different takes in different files so if you lose or damage a file you lose only one take and not all of them The method you choose affects only how audio is stored on your hard disk it does not affect playback Each method c
89. all defined colors 2 Click the color you wish to change Vision opens a standard Macintosh color picker dialog box 3 Pick a new color and click the OK button 4 Change other colors as desired then click the OK button to close the Colors dialog box You can reset any modified colors to Opcode s default colors To do so 1 Choose Windows gt Instruments Vision opens the MIDI Instruments Window 2 Choose Initialize Colors from the Instruments Window menu Vision resets its colors to their default values MUTING OR SOLOING AN AUDIO INSTRUMENT To mute or solo an Audio Instrument Click the Mute or Solo column next to the desired Audio Instrument This places an M or S in the column to indicate whether the Audio Instrument is muted or soloed Soloing occurs across all Instruments both MIDI Instruments and Audio Instru ments Soloing an Audio Instrument mutes all unsoloed Audio and MIDI Instruments 2 Click again to disable an Audio Instrument s mute or solo For information about the differences between muting or soloing tracks and muting or soloing instruments please see your MIDI Reference M anual Vision amp Studio Vision Pro Audio Reference Manual 135 PART 4 Digidesign DAE Configuration amp Recording VOICE COLUMN The function of the Voice column changes depending on which voice alloca tion mode Vision uses Before learning about this
90. an Audio Mix pg 223 e Export Audio Events Use it to export each selected audio event into its own audio file This is particularly useful for creating sounds or loops for triggering with asampler See Exporting Individual Audio Events pg 225 Additionally you can import M IDI data from a QuickTime movie as discussed in Importing MIDI from a QuickTime M ovie pg 212 206 Opcode Systems Inc CHAPTER 20 Import Export Cornucopia IMPORTING AUDIO Vision uses two techniques to import audio directly depending on which audio hardware you are using Both are described below Audio imported with the import audio command can be directly played and manipulated Importing Audio with Acadia or MIDI Only Import Audio Dialog Acadia s new Import Audio dialog lets you select and import multiple files F ile for mats that can be auditioned and imported from the dialog include AIFF and Sound Designer To import one or more audio files place your cursor at the desired measure location for the desired track then choose File mport Audio Select something to import Q Drum Loops CQ Guitar Sounds Cj Sound Effects E anjl2a beyond recognition 4 grisly loop Macinto Desktop Add All File Path Macintosh HD Audio Files grisly loop File Type AIFF Mono 16 Bit 44100 Hz Play File Length 77300 Samples 1 75 sec 2 MasterNoise AIFF QT loop anjl4 O00 6 OO Import m
91. as discussed in Hardware Setup pg 101 and the session sample rate Specifically The Hardware Sample Rate is the sample rate that your hardware uses to play back audio files Your audio hard ware works at only one of a few preset sample rates M ost professional systems work at either 44100 Hz CD quality or 48000 Hz e The Session Sample Rate is the sample rate that is common to all audio files referenced by a sequence All audio events in a Vision file must have the same sample rate Session sample rates of up to 96 kH z are sup ported for DAE and Acadia See your hardware manual to learn which sample rates it supports To get the best audio quality you should record all of your sound files at the same rate as your hardware sample rate When you do this the sample rates of your files will always match the hardware sample rate and sample rate conversion will not be necessary Sample rate conversion Is discussed in Chapter 26 Sample Rate Conversion and Deinterleaving To set asession sample rate Choose Audio gt Sample Rate Size Vision opens the Set Session Sample Rate Size dialog box Select a Session Sample Rate and Size Session Sample Rate 44100 Sample Size Hardware Setup Figure 12 11 Set Session Sample Rate Size Dialog Box 2 From the Session Sample Rate pop up menu select the desired session sample rate The hardware sample rate is indicated by a small Macintosh icon
92. audio event Figure 18 20 Selected Audio Event in Tracks Window If the Track contains more than one Audio Instrument selecting an audio event in the Track Overview area actually selects all audio events that occur within the same range of time Vision amp Studio Vision Pro Audio Reference Manual 185 PART 5 Basic Audio Editing amp Playback For example if the Graphic Window looks as follows o R Satna Wild Guitar SSS awn ES AAA a a es al Ld Gui a Pad Guitar E Feedback EEE e e Stre chart 4 Figure 18 21 Audio Events in Graphic Window then the Tracks Window looks like Figure 18 22 Rule Figure 18 22 Audio Events in Tracks Window Notice in Figure 18 22 that the Tracks Window shows only one phrase even though there are many audio events This is because the Three Audio Instruments events overlap in time creating a single phrase in the Tracks Window To help clue you into this situation Vision dis plays the multi Instrument audio track in black in the Tracks Window unlike single Instrument tracks that display in each Instrument s color When you select a phrase in the Track Overview area you re actually selecting all audio events that the Tracks Window displays as part of that single phrase a A aea go er Selecting a single phrase in a multi Selects all Instrument track event
93. beam Tools 344 Opcode Systems Inc CHAPTER 32 The Audio Menu 2 Move the cursor over the event s lower select region and click at the desired split point The cursor becomes a cross hair If you click the cursor over the top region of an audio event you ll select the entire event this is not what you want to do Make sure you click in the bottom region of the event 1 1 PS Bel 2S Z SS Set 3 Dl Iz Click in lower portion of audio event to define the split point Choose Audio gt Separate Vision separates the original audio event into two audio events Separated at the edit point 1 3 Bed BS Ss SR Sed 4S Dd OS Two separate audio events are created by using the Separate command To separate a section of an audio event from the rest of the event In the Graphic Window select either the Marquee or l beam tool Drag across the portion of the audio event that you want to separate from the rest of the event Tet D 3 Bd Bee Se a 4 1 453 Sel 39 Drag across the lower third of an audio event to select a portion of that event Choose Audio gt Separate Vision divides the event into individual events 14 PS 2 1 SS Se T 497 4953 Jl 395 Three separate audio events are created by this application of the Separate command Figure 32 5 Audio Event Separated Notice that no audio event information is deleted You can play back the track and it will sound just as i
94. below x Click the audio event that you want to Set instrument to move to another Audio Instrument 5 Click the Set button Notice that assigning an audio event to a different Audio Instrument creates a new Audio Instrument in the Graphic Window 2 Choose Do gt Set Instrument if it didn t already exist Vision opens the Set Instrument dialog box Click an audio event to select it Oo e Set Instrument b For all selected v Set Instrument Set Set instrument to Audio 1 Double Do PL hele al Strip hart New Audio Instrument Press and hold the mouse on the audio event assigned to new Instrument name of the Audio Instrument Vision opens a pop up menu of Instru ment choices 192 Opcode Systems Inc CHAPTER 18 Working with Audio Events List Window Tracks Window When you have more than one Audio If a track only uses one Audio Instrument Instrument assigned to a track the List and you want to change that Audio Instru Window displays anew column the ment you can do this from the Tracks Audio Instruments column Use this Window column to assign Audio Instruments to different audio events C1 Press and hold the mouse on the Audio Instrument name Press and hold the mouse on an Vision opens a pop up menu listing all Audio Instrument name in the List Audio Instruments Seo l From the pop up menu choose the Vi
95. box and click the OK button Feet Insert Instrument Insert events on Audio i If you already have a controller in your track the new controller event will auto matically be set to the Instrument that controller is set to Q 000 dE 3 32 Audio 1 Zj Z3 1271 2 259 Audio 1 0d 155 1274 3 298 JB 200 1 GF Ogd 2dNi274 S4t 7 Newly inserted controller event Vision amp Studio Vision Pro Audio Reference Manual 255 PART 6 Advanced Audio Techniques Changing Automation Event Instrument Assignments If after inserting an automation event you wish to change its Instrument assign ment simply press and hold the mouse in the event s Instrument column and select a new Instrument from the pop up menu N 606CYNE AIF Volume 0 O00 dB 2q 456 1274 H 2060HAT AIF Zje Z3 127l Mj Loop Snare 1 Odt 155 1274 Os 2d0 1271 bd t YO 29255 Audio 1 10 3 296 Jb 800 1 G3 Press here to open a pop up menu of other Instruments Changing Automation Event Values After inserting an automation event you can adjust its value by dragging the numerical which is to the right of the event name Ss Sequence B Track 1 R FB EER Matti An i ap en ea E 1 M 6O6C YMB AIF 2d 456 1274 Yolume sl 6 000 dB Mi 6060HAT AIF 3d 3 1274 Loop Snare 1 3 32 Audio 1 2 259 Audio 1 3 296 JD 800 1 G3 O d 155 1274 Od 240 1274 64t Drag to c
96. but linked mono files for stereo playback with some audio hardware Specifically Digidesign s DAE based systems require that stereo files be of this format Stereo 1 interleaved file Creates a single interleaved stereo file for stereo playback with some audio hardware Specifically Apple s Sound M anager can play files of this format meaning QuickTime supports it as can Digidesign s Sound Designer Il program Vision amp Studio Vision Pro Audio Reference Manual 231 PART 5 Basic Audio Editing amp Playback If the Audio Format dialog box opens as the result of using the File gt xport Audio Events command the Channels selector works a bit differently Specifically e If you selected only a single audio event the Channels selector works as described above except that 1 if the event is mono the stereo options are disabled and 2 if the event is ste reo the mono option is disabled e Ifyou select multiple audio events the Channels selector looks as follows l brane ds Mo Change Deinterleave Interleave Since your selected audio events might all use different channel for mats these options give you the ability to save all the audio events in the same channel format The follow ing matrix shows the results of applying each option to each type of audio event OPTIONS ORIGINAL EVENT No Change Deinterleave Interleave Mono 1 mono file 1 mono file
97. clipping occurs make the necessary adjust ments for the channels routed to these outputs In extreme cases where you are dealing with very low amplitudes you should use the DSP gt Normalize command on indi vidual audio files as needed for details see Chapter 31 DSP Menu in your Audio Reference M anual Vision amp Studio Vision Pro Audio Reference Manual 89 PART 3 The Acadia Audio System Setting the M aximum Fader Position to 0 dB doesn t offer any extra head room for boosting audio signals with low amplitudes When to Set the Maximum Fader Position In general it s best to set the M aximum Fader Position at the beginning of a ses sion and retain that setting throughout the session The M aximum Fader Posi tion is saved with each Vision file so it will be set accordingly each time you open a different file There may be times when working with a Vision file that you ll notice that your audio files were recorded too low In these cases you can go to the Audio Pref erences dialog and set the M aximum Fader Position to 12 dB or 18 dB This will allow the headroom boost your audio output volumes to the desired levels Whenever launching Vision or opening a new file audio volumes are automatically set to 0 dB and the visual fader position will vary depending on your M aximum Fader Position setting The Maximum Fader Position is set to 6 dB by default Smooth Audio Controllers
98. desired fade in length and fills in the Fade in length automatically Select the desired fade out shape from the pop up menu Make sure the fade in and crossfade options are disabled Choose the desired file length option as discussed in File Length Option pg 370 then click OK Unless you disabled its display in the DSP Preferences dialog discussed on page 423 Vision opens a Save As dialog box a Audio 1 HD Desktop x Cancel Available 863 6 MB Process event s into My Song 001 xF ade Space Needed 1 4 MB O Bypass this dialog next time Figure 35 6 Save As Dialog for Convert Sample Rate When you fade audio Vision constructs a new audio file It leaves your original audio file or files unaffected Use the File Format pop up menu to specify the desired file format AIFF or Sound Designer Il Navigate to the folder in which you want to save the file By default Vision selects the folder you specify in the DSP Preferences dialog discussed on page 423 Type a name for the faded audio file By default Vision suggests a name based on the auto naming options you specify in the DSP Preferences dialog discussed on page 423 Click Save Vision creates a new audio file or files for the faded audio It creates one or more new audio events to play that audio replacing the original audio event s in your sequence NOTE If you never want to see this Save As dialog box again that
99. deter mines the maximum number of voices and therefore the maximum number of audio events that can play simultaneously Vision amp Studio Vision Pro Audio Reference Manual 201 PART 5 Basic Audio Editing amp Playback i a a eee OM AUDIO PLAYBACK WITH FIXED VOICE ALLOCATION If Vision uses fixed voice allocation as set in the Audio Instruments M enu in the Audio Instruments Window audio events will play back as discussed in this section NOTE If you re using Vision with a Digidesign Audiomedia II or II Sound Tools Il or Pro Tools or Il read Audio Playback with Dynamic Allocation pg 199 instead of this section Voice Allocation and Audio Events If multiple audio events are assigned to the same Audio Instrument and overlap in aregion of time then playback defaults to the audio event with the later start time For example CG Assume you have two overlapping audio events assigned to the same Audio Instrument as shown in Figure 19 6 2 23 Se Ssh 4s Figure 19 6 Overlapping Audio Events 2 Click Vision s Play button Vision plays the first audio event begin ning at measure 2 1 but abruptly stops playing that event and starts playing the second audio event when the Counter reaches 2 3 240 21 29S 51 S93 4s This audio event will play Until this overlapping audio event silences it and plays instead Figure 19 7 The event with the later start tim
100. dialog box The four columns dis play the following information for each audio file e filename e sample rate in Hz e sample size in bits e whether the file is stereo or mono 304 Opcode Systems Inc CHAPTER 26 Sample Rate Conversion and Deinterleaving You can sort the list by any of these parameters by clicking on the parameter name Clicking the word Filename will sort the list by filename Clicking SR Hz will sort the list by sample rate clicking SS Bits will sort the list by sample size and clicking the word Chans will sort the list into stereo and mono files The column being sorted is underlined in Figure 26 3 the Filename is underlined You can select a file in this list by clicking it or by typing the first letter of the filename Audio files that require conversion will have checks next to their names You can also see which type of conversion they require a check in the SR Hz column means that the file must be converted to the Session Sample Rate A check in the Chans column means the file must be deinterleaved Session Sample Rate amp Size Pop ups Session Sample Rate 44100 Sample Size 16 bits The Session Sample Rate and Sample Size pop up menus display the current session Sample rate and size You can change the session sample rate and size by choosing a new value from each pop up menu The pop up menus contain other sample rates and depths supported by your particular
101. discusses how to record dig ital audio with Vision You should already be familiar with the Record M onitor Win dow discussed in the previous chapter To Import audio for use with DAE see Importing Audio with DAE pg 209 When you have finished this Chapter you may want to look at Chapter 21 Advanced Recording Techniques for more details per taining to recording POWER USER OVERVIEW The following are the steps required to record audio Choose Windows gt Record Monitor Vision opens the Record Monitor Window With the Record M onitor Window active CG Record enable an input channel Vision produces a standard Save As dialog box 2 Use the dialog box to create a new record file for the audio 3 Play or sing into your digital audio interface and watch the on screen LEDs to set an optimal input level PRO TOOLS III 24 You cannot set record levels until you ve record enabled an input 4 Enable any other desired options Options include audio thruing linking files and auto compacting 6 Assign a default Audio Instrument to the audio you re about to record 6 Leave the Record Monitor Window open then go to the Tracks Window IMPORTANT The Record Monitor Window must be open in order to record audio With the Tracks Window active Record enable a track 2 Inthe Control Bar select the desired record mode If you are about to record an audio event the Record Mode display
102. esssesssserrresrrserrrrnnrrnerrnsrrrserrrnrrrrsnns 264 Viewing and Inserting Automation Events 265 Changes in the Way Vision Handles Faders ierre 271 Copy Faders and Audio Channels cccccscsssssesseesssessseesseeseees 212 Types Of Automation Events ccsscssssesssssecssssressssressssressenresseees 215 Opcode Manual Template vii Table of Contents CHAPTER 25 CHAPTER 26 CHAPTER 27 CHAPTER 28 File Management 283 Who Should Read This Chapter cccscsscccsecssessssssssessseeeeees 283 PWN PGS ciated teenies aana crete tuniuaaantees 283 Overview of the File Management Dialog BOX sassen 283 Viewing Audio File INTOPMALION ccccceceseesesteessstteessreessseeessnstens 284 DAVIN GUANO TES sasona A 286 organizmo Ado Flle S nunnan E 286 Sample Rate Conversion and Deinterleaving 301 Who Should Read This Chapter ccccccsscscssesssseesssesssessseessees 301 About Sample Rate Conversion cccsccccsescssessssssssssssseressereesseeesss 301 About Sample Size Conversion cccccccssessssesssssssssessseessneeesseeesss 302 About Deinterleaving cescccsssteesssrseessreeseseeesseeessnereessaeesssaetessetess 303 Converting Sample Rates Sizes and Deinterleaving 008 303 The Conversion Overview Dialog BOX ccccscsesssseessseessstesseees 304 Strip Silence and Slice Audio 307 Who Should Read This Chapter icsisidaisisrsiidvvanidvianaritepartinederedities 307 SUFI SIGE CO su
103. everything in the file that s to the right of the cut will shift to fill the gap The references in the Vision sequence file of where on the hard disk it Should play back from will be inaccurate As aresult audio events that reside in this file may not play back correctly You can safely perform these operations in Sound Designer Il e Fadein e Fade out e Normalize e Revert e EQ Equalize LINK EVENTS Choose this command to link two selected mono events into a single linked stereo event The two events being linked must share the same Start and End times You should select the two events that you want to link from within the Graphic W indow this way you can see the two events and easily tell whether they share the same Start and End times If the Start and End times are not exactly the same and you still wish to link the two events you can make them the same by using the Retain or Cut commands If you try to link events with different Start and End times Vision will warn you that they are not the same NOTE Link Events works only on the first two selected audio events in the currently selected track This is different than the Unlink Events command discussed below which works on all selected events in all selected tracks UNLINK EVENTS Choose this command to unlink all selected events that are currently linked This is particularly useful if you ve recorded a linked stereo event then decide later that
104. fader When using Parametric the Gain fader is also displayed in the EQ area of the Console Window Vision amp Studio Vision Pro Audio Reference Manual 71 PART 3 The Acadia Audio System High Shelf boosts or reduces all fre quencies above the specified cutoff frequency eal Freq i 10000 Hz Gain i 0 0 ae The Frequency fader for this EQ type determines the cutoff frequency above which all frequencies are atten uated with the Gain fader e High Cutuses a low pass filter which eliminates frequencies above the specified cutoff frequency F i 10000 Hz H Freq This EQ type has just one fader labeled Frequency controlling the cutoff frequency above which fre quencies are removed When using High Cut there is no accompanying Gain fader displayed in the EQ area of the Console Window ee SAVING AND RECALLING EQ SETTINGS In Vision any configuration of EQ set tings can be saved and recalled as a template This lets you save your favorite EQ settings for a wide range of applica tions male vocals 6 string guitar kick drum etc EQ settings can also be copied and pasted between audio channels IMPORTANT An audio channel s Phase status on or off is not saved as part of an EQ template EQ templates along with plug in pro grams and banks are stored in the Vision Effects Templates file which must reside in the same folder as the Vision application Te
105. file If you re editing a linked stereo audio event Sound Designer II will open two Waveform Editing windows one for the left and one for the right channel IMPORTANT With other programs or ear lier versions of Sound Designer I1 Vision may not be informed of the changes and therefore be unable to automatically recompute the waveform summary If you do not see the changes you made in Sound Designer II reflected in Vision or if you are unsure these changes are reflected use the Rebuild Waveform command in the File M anagement dialog box All audio in the selected audio event s audio file will be displayed as one long waveform since the concept of audio events is unique to Vision The only way you have of determining from this waveform where the boundaries of your selected audio event are is the highlighted area in the Waveform Editing window Do not edit outside this highlighted area if you do you ll cross over the boundaries of the audio event or portion of it that you wanted to edit NOTE In order to avoid accidental loss of the current selection range you can save it in Sound Designer II asa Region As soon as you enter Sound Designer use the Cap ture Region command Vision amp Studio Vision Pro Audio Reference Manual 349 PART 7 Menus Don t perform any operations that move wave data such as a cut or paste If you cut out a portion of audio from the file for example then
106. file you will be asked one more time then the old file will be deleted from your hard disk ee THE CONVERSION OVERVIEW DIALOG BOX Conversion Overview Aa The checkmarked audio files below are either stereo interleaved or not at the Session Sample Rate or both Click Convert or Convert All to perform the appropriate conversions Session Sample Rate 44100 Sample Size 16bits Hardware Setup Convert All Filename SR Hz SS Bits Chans Slip Right 44100 16 Stereo Snare Power 44100 Stereo 16 Zaps 44100 16 Stereo Figure 26 2 Anatomy of the Conversion Overview Dialog Box Y ou perform file conversions by using the Conversion Overview dialog box This dialog appears whenever you e Open a Vision file that uses audio files with different sample rates as could be created in versions of Studio Vision prior to 2 0 e Import an audio file that is not using the current Sample Size e Open a Vision file that uses inter leaved stereo audio files and DAE e Attempt to import an interleaved stereo audio file using DAE e Choose Audio gt Conversion Overview The File List Filename SR Hz SS Bits Chans Slip Right 44100 Stereo Snare Power 44100 16 Stereo Zaps 44100 16 Stereo Figure 26 3 File List Columns Conversion Overview All audio files that are referenced by the current Vision file appear in ascrolling list in this
107. hardware see Stereo Voicing E xcept Pro Tools II1 24 pg 140 Stereo Voicing Except Pro Tools III 24 NOTE This section applies to all Digide sign hardware except Pro Tools II1 24 T hese users should read Stereo Voicing Pro Tools I11 24 Only pg 141 instead of this section Click the Stereo column for an Audio Instrument to make that Audio Instru ment stereo Assume for example that your Audio Instruments Window looks like Figure 15 9 O audio Instruments Instrument Figure 15 9 Sample Audio Instrument Window 140 Opcode Systems Inc CHAPTER 15 DAE Audio Instruments CG Click the Stereo column next to Stereo Voicing Pro Tools III 24 Only any Audio Instrument you want to use for stereo playback Assume for example that your Audio Instruments Window looks like E Audio instruments aee mjs Yoice l O Audio Instruments amp Routings Audio 1 4 Output 1 2 0 0 Audio 2 3 Output 1 2 0 0 udio 3 z Output 1 2 0 0 Audio 4 1 Output 1 2 0 0 ioa 3 Audio 5 ee Output 1 2 0 0 Vision places a check mark in the Stereo an i a column and changes the Voice column Figure 15 10 Sample Audio Instrument Window to show that stereo Audio Instruments use 2 voices In Figure 15 10 notice the voice assignments To change the voice pair used by a stereo Audio Instrument Specifically Voice 4 is assigned to Audio Instrument 1 V
108. hardware setup dialog box 4 Click the Convert button Vision opens a dialog box asking if you really want to perform the sample rate conversion Convert Dueling basses to 22050 Hz 6 Click the Convert button If you have an audio file that you share between multiple Vision files you need only convert it once Any time you open a Vision file that still references the old unconverted audio file you can click the Find converted button to tell Vision where to find the audio file that you con verted previously 6 Vision opens a standard Save As dialog box Vision amp Studio Vision Pro Audio Reference Manual 297 PART 6 Advanced Audio Techniques 7 Use the dialog box to name and save the new file you re about to create Since the active Vision file will now point to the newly created audio file Vision will ask if you want to delete the original audio file from your hard disk is The file Dueling basses is no longer being used in this sequence Would you like to delete it from your hard disk Don t Delete Click the Don t Delete button if you want to save your original file or click the Delete button if you don t need the original file any longer Deinterleave Choose this command to deinterleave the selected audio file DAE does not support playback of interleaved files so you may find it necessary to deinterleave any files that were imported from Sound Desi
109. indicates the percentage of Vision s allocated memory that is in use Vision s available RAM determines the number of notes and audio events that can be recorded and how Vision allocates memory for the digital audio s Buffer Size see page 87 To find out the number of available notes events click on the RAM bar for a pop up menu Figure 11 2 Performance Window Memory pop up The Largest free block shows the larg est contiguous amount of available memory If the Total free space is sub stantially larger than the Largest free block you may have fragmented mem ory You can sometimes correct this by quitting and re launching Vision To increase the available memory for Vision Get Info on the application from the Finder and increase the Preferred Size This must be done while Vision is not launched IMPORTANT Before allocating more memory to Vision make sure your com puter has enough installed RAM See your Macintosh operating manuals for more information 86 Opcode Systems Inc CHAPTER 11 Acadia Optimizing for Digital Audio THE BUFFER SIZE DIALOG Buffer Size Process Ahead File buffer size File buffers Hemory required 17408K 1TS TE Figure 11 3 Buffer Size dialog Memory available In addition to the RAM required to run the Vision application the Acadia audio system also needs to set aside memory for use as a RAM buffer This buf
110. is you always accept the default name and folder click the Bypass this dialog next tme option in the Save As dialog box Should you wish to make the Save As dialog reappear choose DSP gt DSP Prefer ences select F ade Crossfade from its Apply to pop up menu then uncheck the Bypass Save As Dialog option 372 Opcode Systems Inc CHAPTER 34 DSP Menu EQ and Fade Crossfade Creating Automatic Fade ins To create a fade in whose length is based on your selection apply a technique simi lar to the one discussed previously except you should select the first part of an audio event or events before choos ing DSP gt Fade Crossfade Creating Manual Fades To create fade ins and or fade outs of any length Select some audio 2 Choose DSP gt Fades Crossfades Unless you disabled its display in the DSP Preferences dialog discussed on page 423 Vision opens the Fade Crossfade Settings dialog box 3 From the top pop up menu select Manually Fade Crossfade Settings Set fade crossfade lengths manually Type the desired fade lengths into the Fade Crossfade Settings dialog 5 Select the desired fade in and or fade out shapes from their pop up menus 6 Make sure the crossfade option is disabled 7 Choose the desired file length option as discussed in File Length Option pg 370 then click OK Unless you disabled its display in the DSP Preferences dialog disc
111. its Record Enable on and off as desired you won t be prompted by the Save As dialog box That dialog box appears only if you haven t assigned a record file to the input line Set Record Levels This section discusses how to set record ing levels The bargraph in the Record M onitor Window functions like an LED display Whenever the Record M onitor Window is open its bargraph displays the amplitude for incoming signals To set your input levels CQ Play or sing into a microphone that s connected to the specified audio input 2 Look at the bargraph for the input whose volume you wish to set Bargraph shows input record level O A Rec Rec Source 56 18 amp 2 Ch i Input 1 rani 1 ieee 3 Adjust the level of the signal you re sending to Vision To obtain the best signal to noise ratio adjust the signal so that its peak ampli tude is as high as possible but below Vision amp Studio Vision Pro Audio Reference Manual 27 PART 3 The Acadia Audio System 0 dB In digital recording you cannot record above 0 dB without clipping the audio Avoiding Clipping If the amplitude of the audio signal exceeds 0 dB the waveform becomes chopped off and flat like a square wave and the audio will sound buzzy and dis torted This is called clipping which you will most always want to avoid If you re accustomed to analog recording you ll soon notice that digital clippi
112. likely cause drift between digital audio playing in Vision and material playing back from the tape source This chapter discusses ways to address the drift that occurs when syncing digital audio to material on tape It applies to all of the audio systems sup ported by Vision but is separated into different sections depending on the type of audio system you use Specifically e Acadia Users Read Sync M odes pg 325 then skip to Acadia Sync ing Audio to SMPTE pg 326 e DAE Users Read Sync M odes pg 325 then skip to DAE Syncing Audio to SMPTE pg 327 SYNC MODES As discussed in the MIDI Reference M an ual Vision offers four sync modes e Internal Clock Use this to sync M IDI and or digital audio to the M ac intosh s internal clock Internal Clock does not sync to SMPTE e External Beat Clock Use this to sync MIDI only not audio to an external clock source that sends 24 pulses per quarter note Beat clocks are tempo dependent they are not real time External Beat Clock is used primarily for syncing to adrum machine sequencer or another soft ware application MIDI Time Code Use this to sync M IDI and digital audio to an external SM PTE clock source such as an audio tape a video deck or a synchronizer e MTC Machine Control Use this to control aM MC compatible devices from Vision For detailed instructions on MMC configuration please see your MIDI Reference M anual Visi
113. listen to an item in either the middle or right list 0 00 00 00 The timer will show the time while play ing You can skip to any location in an audio file by clicking along the length of the counter If you click toward the right of the counter you ll skip to the end of the song If you click toward the left of the counter you ll skip to the beginning of the song If you click toward the middle of the counter you ll skip to the middle of the song This is helpful when you are pre viewing along file For more information see the hint in Appending Audio to Files pg 239 Import Multiple Files DAE Audio Preferences DAE users can specify how multiple files are imported The Import multiple files pop up in the Audio Preferences dialog under the Audio menu determines whether the files are imported onto a single track or multiple tracks Audio Preferences Maximum Fader Position 0 dB 3 6 dB Fade duration ae arp volume 20 mzetz Smooth Audio Controllers Fan T0 roses Import multiple files end to end onto one track onto multiple empty tracks Figure 20 4 Audio Preferences for DAE Choose end to end onto one track to place the files one after another onto a single track assigned to a single Audio Instrument Choose onto multiple empty tracks to place the files on separate tracks each at the same measure location In this case each imported file is assigned to a differ ent
114. metz MANNDN Thru On L Link F 36 18 3 Set up the Audio Instrument destination and then record For general recording information con sult Recording Step By Step pg 26 W hat follows are specific instructions for each type of record source for recording Recording from Inputs Recording from hardware inputs is the most common way you will record in Vision The signal coming into one or a pair of the inputs from your audio inter face is recorded to a hard disk track and assigned to an Audio Instrument When recording from an input no effects or volume fader information is recorded A description of recording from inputs is found in Recording Step By Step pg 26 Recording from Audio Instruments You may want to record your effects and volume information directly to a new Audio Instrument in real time This is done by recording from an Audio Instru ment assigned to existing audio tracks To record from amono Audio Instrument GQ Make sure Linked Pairs is unchecked in the Record Monitor O e Record Monitor H O Auto Compact Sample Size 16 bits Linked Pairs checkbox 2 Select the desired mono Audio Instrument from the Record Source pop up F Rec Source 36 18 fo Audio 1 02 Se a input SR Thru On O Link F 3 Make sure that you are recording to an unused mono Audio Instrument 4 Record as you would any audi
115. more detail 182 Opcode Systems Inc CHAPTER 18 Working with Audio Events INDIVIDUAL CANCELING OF WAVEFORM BUILDS Cancelling a waveform build affects only that waveform Cancelling a waveform build affects only that waveform as shown here Cancelled Waveform Figure 18 12 Individual Cancelling of Waveform Builds If you cancel a waveform build and later decide that you want to see It CG Choose Audio gt File Management 2 In the File Management Window select the audio file for which you wish to view the waveform 3 From the File Management Window Menu choose Rebuild Waveform AUDIO EVENT NAMES Viewing Audio Event Names If the Audio gt Display Names option is enabled audio event names are displayed in the lower left corner of the event in the Graphic Window This option does not affect audio event names in the List Window where names are always dis played and can be edited or the Tracks Window where the waveform Is too small to contain any text x Audio gt Display Names enabled Audio gt Display Names disabled Figure 18 13 Displaying Audio Event Names in a Graphic Window Long Time Guitar Riff p 8 I 166 1 0 4 4 374 M Longtime Riff P 1 Figure 18 14 Audio Event Name Displayed in a List Window Vision amp Studio Vision Pro Audio Reference Manual 183 PART 5 Basic Audio Editing amp Playback Renaming Audio Events Audio
116. need to record from a stereo source Audio Instrument output or bus to a stereo Audio Instrument Stereo Busses TDM busses can now be specified as ste reo in the Audio Instruments amp Routings Window Whether a bus is stereo deter mines how audio channels are routed to it and how the bus is recorded Busses Bus 1 w Bus 2 Cno output o o no output o o Figure 15 7 Making a bus stereo For instance if you have a stereo Audio Instrument and want it sent to a bus you should make sure that the destination Is a stereo bus You can however mix and match stereo and mono signals when routing to busses In doing so the following rules apply e When sending a stereo console chan nel to a mono bus only the left channel is sent e When sending a mono console chan nel to a stereo bus the signal is sent to both the left and right channels of the bus You cannot however mix and match stereo and mono signals when recording If you attempt to record from a stereo bus to a mono Audio Instrument or from a mono bus to astereo Audio Instrument you will be prompted to make the neces sary changes Vision amp Studio Vision Pro Audio Reference Manual 139 PART 4 Digidesign DAE Configuration amp Recording Stereo Inputs and Outputs Clicking in the Stereo column works a little differently for inputs and outputs and SampleCell channels as opposed to Audio Instruments an
117. not enough overlapping audio eith er fade featu re independently Allow crossfades with minimum length of ms Allow crossfade regions to move about splice point as needed T h e va ri 0 u S fa d e i n an d fa d e 0 ut tec h E niques are discussed in Creating Fade In Out Create ms exponential fade ins ad RE a nee Fadelns and FadeOuts pg 370 oe ie File Length option ped S Use is opti A ee ie n TAa om Cros d 5 eating 5 Th a a a me E ewer events larger file size s ee ee tion discusses this in detail oe a H New events contain data inside fade region a more events smaller file size Figure 35 4 Basic Fade Crossfade Settings Dialog Box Vision amp Studio Vision Pro Audio Reference Manual 369 PART 7 Menus File Length Option If the File Length option at the bottom of the dialog box is set to fewer events larger file size Vision creates new audio events that contain date both inside and outside the fade crossfade regions defined in this dialog box In other words if you select a pair of 30 second audio events and crossfade them over a length of 50ms Vision would generate a single new audio event that was 1 minute long It would replace the two original events with this new single event If the File Length option at the bottom of the dialog box is set to more events smaller file size Vision creates new audio events that are only as long as the fade
118. o Premiere Plug Ins P DSP Preferences Figure 40 1 DSP Menu DSP commands are constructive mean ing they create new audio files without altering your original audio data DSP commands work on mono stereo interleaved or linked audio files with bit depths of 8 16 or 24 If you select multiple audio files on which to perform a DSP operation all selected audio files must be the same type mono interleaved or linked and the same bit depth 8 16 or 24 The only exception to this rule is the Mix command You can undo any DSP command This provides a convenient way to do an A B comparison between the processed and unprocessed audio The following sections describe Premiere Plug Ins and DSP Preferences Vision amp Studio Vision Pro Audio Reference Manual 419 PART 7 Menus PREMIERE PLUG INS Vision supports audio plug ins designed to work with Adobe Premiere There are numerous third party audio processing plug ins available from many companies including Opcode Premiere Plug Ins gt Filter pr Vinylpr Yocode pr WavesShell P 2 3 3 DSP Preferences Figure 41 1 Typical Premiere Plug Ins Submenu These plug ins are hardware independent and as such can be used with any audio system supported by either Vision or Studio Vision Pro Installing Premiere Plug ins Vision looks for plug ins in a folder named Audio Plug ins
119. of your digital audio hard ware or they can apply to all inputs In addition you can also make these selections globally or save them with individual sequence files To open the Audio Recording Preferences dialog box choose Audio Recording Preferences from the pop up menu in the Record M onitor Window Record Monitor Audio Recording Preferences Apply to All Inputs 1 Default Folder Studio Vision 6 Each new take in a separate file Create unique filenames by concatenating Document Name Is Audio Instrument Unique Number Example Untitled Audio 2 001 O Save with sequence files Figure 21 2 Audio Recording Preferences Dialog As you can see in Figure 21 2 there are numerous elements in the Audio Record ing Preference dialog Specifically Apply to The settings in the Audio Recording Preferences dialog can be different for each hardware input This pop up menu determines the input to which the settings will apply If you choose All Inputs the set tings will be used for all hardware inputs File Saving Option If you record multiple audio takes this option determines how Vision saves the recorded file s Specifically If you record with the Save All new takes in asingle file preference then Vision writes all the recorded data into a single new audio file and all new audio events point to this single file This option creates fewer audio files but each
120. on the audio card rather than Macintosh RAM Therefore all choices say 4000K the amount of RAM included with these systems 2 Select the largest RAM size that is appropriate for your system See Determining the Best RAM Buffer Size pg 100 to help you choose which setting is most appropriate 3 Click the OK button The selected amount of RAM is set aside for use as a digital audio RAM buffer Determining the Best RAM Buffer Size PRO TOOLS III Project Owners of these systems can skip this section since Vision uses a Special RAM buffer included on the digital audio card As you can see in Figure 12 2 there are five different RAM Buffer sizes available If you have a slow hard disk you should set the buffer size to the largest amount your system will allow If you have a fast hard disk you may want to use a smaller buffer When the RAM buffer is small your M ac intosh will need to access the hard disk frequently If you do not have a fast hard disk this may cause problems The solu tion is to increase the RAM buffer size When the RAM buffer is large your M ac intosh will store more digital audio in RAM and will not need to access your hard disk as often However you may notice that it takes longer to start and stop playing digital audio This is because your M acintosh needs to fill the buffer with digital audio from your hard disk If you have alarge RAM buffer this will take longer In general
121. option if you want Vision to apply changes in MIDI volume to your original audio performance Use Selected MIDI Pitch Bend option Check this option if you want Vision to apply changes in M IDI pitch bend to your original audio performance Process Note Until pop up menu This is one of those tweaky parame ters that can have a drastic affect on the modified audio file You have two processing options End of note Next note Process Mote Until End of note Choose this option if your original audio file is very legato or was recorded with reverb or in an ambient space Next note Choose this option if your Original audio file contains notes that begin with a breath sound or other similarly characteristic attack attribute For more information see Using the Process Note Until Options pg 415 Vision amp Studio Vision Pro Audio Reference Manual 407 PART 7 Menus Pitch Shift Quality pop up menu Vision offers two types of pitch shift ing algorithms Faster and Best Pitch Shift Quality Best Whenever your applied MIDI edits will affect the pitch of your audio per formance you need to tell Vision which pitch shift algorithm to apply Faster takes less time to calculate the pitch shift and it produces a some what lower fidelity audio file In most cases however Faster quality will produce satisfactory audio results Users with high end Powe
122. prior to 4 5 This action now generates con troller events or other automation events directly For details see Changes in the Way Vision Handles Faders pg 271 Tip for Recording Plug in Automation To get a finer range of values for face less plug in parameters hold down the Option key while adjusting its sliders When the option key is not held down moving the mouse by one pixel also moves the parameter slider one pixel Parameter sliders for faceless plug ins are 88 pixels wide so there are 88 possi ble values for the parameter 264 Opcode Systems Inc CHAPTER 24 Automation When the option key is held down moving the mouse ten pixels moves parameter slider one pixel This increases the number of available values for the parameter to 880 Template gt az sy l Program 1 Defautt Of course you can type any number within the parameter s range into its numeric field VIEWING AND INSERTING AUTOMATION EVENTS 2 E Sequence EQ Band 2 Freg EQ Band 2 Freq EQ Band 2 Freg EQ Band Z Freq EQ Band 2 Freq EQ Band 2 Freq EQ Band 2 Freq EQ Band 2 Freq E Band 2 Freq EQ Band 2 Freg EQ Band Parameter Plug in Parameter System Exclusive Sequence Event F b Automation b b k Ta Ta T ve Ta T Te Ta T Te Figure 24 2 List window Insert menu MIDI p Automation H EQ Band F
123. s fed from the signal proces sor s output As shown in Figure 16 15 this works exactly like an effects send on a regular mixing console Output 7 8 no send i 2000 Output 1 2 input 7 8 20008 Output 1 2 F ET Digital I O g Hardware FX Processor Figure 16 15 Sending Audio to an External Signal Processor Sending Audio to an Internal TDM Plug In Use an Audio Send to route numerous Audio Instruments to a single bus Then use the TDM Inserts on that bus to pro cess all the Audio Instruments simultaneously This minimizes the strain on your TDM resources since multiple Audio Instru ments can share a single TDM plug in 162 Opcode Systems Inc CHAPTER 16 TDM Bussing Routing amp Plug Ins For example Figure 16 16 shows a con sole in which Audio 1 Audio 2 and CREATING GROUPS REAL Audio 3 are all sent to Bus 1 which has WORLD EXAMPLE asingle TDM plug in assigned to it As a result all three Audio Instruments are Busses let you create submixes or processed by that same TDM plug in groups within Studio Vision For exam ple assume you recorded three backup singers each on a different Audio Instrument Q In one of Studio Vision s consoles assign three console channels to the three backup singers Marcetta 2 Use the volume faders in these three Additionally in the figure above the channels to mix the sin
124. select multiple audio files on which to perform a DSP operation all selected audio files must be the same type mono interleaved or linked and the same bit depth 8 16 or 24 The only exception to this rule is the Mix command You can undo any DSP command This provides a convenient way to do an A B comparison between the processed and unprocessed audio The following sections describe the M ix Normalize Reverse Invert Phase and Convert Sample Rate algorithms in detail Vision amp Studio Vision Pro Audio Reference Manual 357 PART 7 Menus Le MIX Use this command to mix together any selected audio events or regions from anywhere within a sequence Vision examines the selected audio files and cal culates a new mixed audio file This command mixes together selected audio events and their velocity settings If you select to mix over a range of time then any volume and pan controllers assigned to Audio Instruments within that time region will be incorporated into the new mixed audio file The Mix command lets you mix the following e audio from multiple tracks e audio on multiple Instruments within tracks e entire audio events e sections of audio events Unlike other DSP commands Mix works on selections that include audio files of different types mono interleaved linked and different bit depths 8 16 24 To learn all the details about mixing audio and the DSP gt Mix
125. selects the folder you specify in the DSP Preferences dialog discussed on page 423 Type a name for the inverted audio file By default Vision suggests a name based on the auto naming options you specify in the DSP Preferences dialog discussed on page 423 Vision amp Studio Vision Pro Audio Reference Manual 361 PART 7 Menus Click Save Vision creates a new audio file or files for the inverted audio It creates one or more new audio events to play that audio replacing the original audio event s in your sequence The Phase Invert button in Acadia mode has the same effect that Invert Phase creates However the Phase Invert button modifies the audio signal real time without generating anew audio file For information about the Phase Invert button see Phase pg 55 NOTE If you never want to see this Save As dialog box again that is you always accept the default name and folder click the Bypass this dialog next time option in the Save As dialog box Should you wish to make the Save As dialog reappear choose DSP gt DSP Prefer ences select Invert Phase from its Apply to pop up menu then uncheck the Bypass Save As Dialog option CONVERT SAMPLE RATE Choose this command to change the sample rate of the selected audio event To use the Convert Sample Rate command Select the audio event s you wish to convert You cannot convert a portion of an audio event
126. standard Macin tosh Open dialog box Select a file to append recording to Gp Shuffle Fold s Shuffle 001 Norm amp Shuffle 002 Up amp Shuffle 003 Down amp Shuffle 006 Up Figure 21 1 Append to File Dialog Box 3 Using the scrolling list find the file onto which you want to append the new audio then click it to select it 4 Click the Import button to open the selected record file Vision will now append any newly recorded audio to the selected file Alternately you can open the Append to File dialog box as follows CG Select New Record File from the Record File pop up menu ord Monitor Clip Record File JPE Close Vision opens the Save As dialog box 2 Click the Append to File button Append To File Vision opens the Append to File dialog box NOTE If you havea DAE based system Opcode does not recommend appending files as it may cause problems later in playback Vision amp Studio Vision Pro Audio Reference Manual 239 PART 6 Advanced Audio Techniques AUDIO RECORDING PREFERENCES For each record take you can specify e How the files are written to disk e Where the files are saved and in what format e How the files are automatically named For example you can tell Vision to save a new file for each take and designate how it will be named and where it will be saved These settings can even be different for each input
127. stereo 52 using stereo TDM 151 Plug Ins column Audio Instruments Acadia 43 Audio Instruments TDM 145 Poly 446 Opcode Systems Inc Index Audio Instruments DAE 138 pops and clicks 180 181 Post Fader 59 Pre Fader 59 Pre Post Fader Button Send area 59 161 Premiere Plug Ins 420 allocating RAM 422 basics 420 installing 420 location 420 previewing effects 422 recalling parameter settings 422 Press and hold 5 Prevent Clipping Normalize in Audio Format dialog 233 printing effects real time 79 Pro Tools 24 98 Record M onitor 112 Pro Tools 24 M ix M ix PLus 98 Pro Tools I II Record M onitor 112 Pro Tools IIl NuBus amp PCI 98 Record M onitor 112 Pro Tools Project 98 Record M onitor 113 Process Ahead 88 Process Note Until 415 End of note 416 417 418 M 1DI to Audio dialog box 407 Next note 416 417 418 Process While Stopped Audio Preferences Acadia 91 Program Plug In Edit window 65 66 program templates plug ins 65 Q Q Factor in EQ dialog box DSP menu 368 QuickPunch 127 files 129 Record M onitor DAE 111 using example 128 129 QuickTime movie exporting audio MIDI 221 importing audio 213 importing audio to a sequence 215 importing audio to a track 214 importing MIDI 212 R RAM DAE determining amount 100 allocating to DAE buffer 99 Buffer Size dialog 87 resources 86 Re analyze Audio Audio to MIDI dialog box 406 rearranging plug ins
128. than one sequence are red 9 Inthe Finder select a red file and choose File gt Get Info You might see the following Comments Used in 2 Used in 3 L Locked LI Stationery Pad The Comments field tells you exactly which sequences use the file In addition if a file is not used in any sequence it will appear with no label Copy to Folder Copy to Folder puts a copy of the selected audio file s into the specified folder Like the Copy command in the Finder Copy to Folder leaves the origi nal files untouched The Copy to Folder command can be used to easily round up all of the files used in a sequence and put them in one folder If one file is selected you will see the following Vision amp Studio Vision Pro Audio Reference Manual 291 PART 6 Advanced Audio Techniques Select a folder to copy file s to mase Out of Faze audio Eject Nw Figure 25 7 Copy to Folder dialog box Provided that there is enough space on the selected volume and there are no files with the same name in the destination folder the selected files will be copied You will then see a dialog prompting you to replace all audio event references to the original file with references to the new file Replace all audio event references to the original file Audio 1 with the new copy of the file Clicking Replace will change the sequence s audio event refer
129. the Audio Recording Prefer ences to automate the process To designate a new file for each take manually Press and hold the mouse on the Record File options icon in the Record Monitor Window Vision opens a pop up menu of Record File options ord Monitor i Record File 2 Choose New Record File from the pop up menu Vision opens a standard Save As dialog box Vision amp Studio Vision Pro Audio Reference Manual 237 PART 6 Advanced Audio Techniques 3 Use the dialog box to name a new record file then click the Save button Vision creates a new record file and cal culates the available recording time based on the amount of disk space available 4 Make sure the input is record enabled To automate this process jump ahead to Audio Recording Preferences pg 240 aa a O O OTHER RECORDING ACTIONS The following sections discuss other mis cellaneous record features Releasing a Record File From Use You can t perform certain operations ona record file when it s enabled For instance you can t delete a file from Vision s file list until it s released in the Record M onitor Window see Chapter 25 File Management for more information To release a file from use as the record file C1 Press and hold the mouse on the Record File options icon Vision opens a pop up menu of Record File options Record Monitor HB i Record File w R
130. the Hardware Setup dialog box contains a number of options for using your DAE hardware Each of these is discussed in the following sections NOTE Depending on your particular hardware some of the following options may not be available See your Digidesign documentation for details Card Type This option is relevant only if you have more than one type of digital audio card installed It lets you select the type of card you wish to use If your M acintosh contains more than one type of DAE supported digital audio card there will be more than one available choice Use the radio buttons or pop up menu to tell DAE which audio card you wish to use You can use only one type of audio card at atime Vision amp Studio Vision Pro Audio Reference Manual 101 PART 4 Digidesign DAE Configuration amp Recording Pro Tools Ill Specifics If you own Pro Tools III the Select Card Type option will contain the following two choices Select Card Type Session 8 w Disk 1 0 Figure 12 5 Card Types available for Pro Tools Ill e Session 8 If you select this option your hardware acts like a standard Session 8 system and you will not have access to TDM plug ins e Disk I O If you select this option your hardware acts like a fully config ured Pro Tools III system complete with TDM support Pro Tools amp II Specifics If you re using a System Accelerator card it s represented in this secti
131. the Instruments Window popup menu and choose Make from Studio Setup Click Make to include Retro in your list of MIDI instruments For more information about configuring Retro AS 1 with OMS please see your Retro AS 1 manual The following example shows how to use Retro with Vision via ReWire when Retro is installed and configured in OMS C1 In Retro AS 1 s control panel select Plug In from the Audio Output pop up menu 10 Sound Manager Direct 10 Default Midi Input Audio Output J Plug in Defer Fill For Better MIDI Timing 12 db 7 4510 Headroom Record To Disk Size 16 bits T Record To Disk MIDI Start Stop Figure 30 1 Retro Control Panel Selecting Plug In enables Retro s out puts to work with ReWire If any other option is selected in this pop up Retro AS 1 s audio output will not be routed through Vision Plug In does not refer specifically to VST plug ins you must choose this option whether or not you plan to use VST plug ins 2 In Vision assign your MIDI tracks to Retro instruments In this example we re assuming that you already have MIDI notes assigned to Retro AS 1 Vision amp Studio Vision Pro Audio Reference Manual 333 Open the Audio Instruments window and scroll to the bottom to see your Retro inputs Audio Instruments amp Routings Snd Mgr Snd Mgr Snd Mgr no output no output no output Snd Mgr n
132. the MIDI into a new sequence 2 If the movie contains both MIDI and audio Vision will import both the MIDI and audio into a new sequence after first asking your to define an audio file format for the imported audio 212 Opcode Systems Inc CHAPTER 20 Import Export Cornucopia 3 If the movie contains BOTH Video AND audio and or MIDI you ll see an alert box asking you what exactly you want to do with the QuickTime file Do you wish to import the audio and MIDI B from the QuickTime movie or just open it for viewing in the Movie window Cancel Import amp View Import view Import causes Vision to import the movie s MIDI and audio tracks into Vision tracks View causes Vision to open the movie in the QuickTime Movie Window The MIDI data is not imported into Vision but will play back using the standard QuickTime elements contained in the QuickTime Movie Window Import amp View causes Vision to import the MIDI as described above plus it opens the movie into the QuickTime Movie Window 3 Since this tutorial is concerned with importing MIDI data from QuickTime movies click Import Vision imports the MIDI data creating a new sequence and places each MIDI channel on a different track It will also import audio after asking you to define an audio file format if audio data is con tained in the QuickTime file j a PCO MIDI mo ses 23 1
133. the ReWire channels you want to use in Vision For more information about enabling inputs and outputs in Acadia mode see Enabling Inputs and Outputs pg 39 NOTE Enabled inputs and outputs con sume valuable CPU resources Therefore to preserve CPU resources enable only the inputs you plan to use 330 Opcode Systems Inc CHAPTER 30 ReWire EXAMPLE 1 USING VISION WITH REBIRTH When using Vision and ReBirth together via ReWire the two applications are auto matically synced ReWire takes care of this for you you don t need to set Vision or ReBirth to send or receive M IDI Beat Clock or MIDI Time Code when working with ReWire All necessary information is transmitted via the ReWire extension ReBirth 2 01 is recommended when using the ReWire extension with Vision 4 5 Also as previously discussed make sure that you have enough memory allocated to Vision CG Launch Vision For ReWire to work properly Vision must be launched before Rebirth 2 Under Options gt Sync Options put a check next to Remote Start This will enable you to play and stop Vision from ReBirth s transport controls You can control ReBirth from Vision s transport controls even if Remote Start is not checked Vision s play button begins to flash 3 Launch ReBirth Open the ReBirth file that you wish to work with or begin a new file 0O In Vision choose Windows gt Audio Instruments Scroll to
134. the bottom of the window and you will see something like this Snd Mgr Snd Mgr Snd Mgr no output no output no output no output no output Snd Mgr no output Snd Mar no output no output no output no output no output no output O O GOO ER CED VED WED VCE ON A IC Ice 0c iced Wc ee MSD FES FS ES MES CS VCS CS eS ES A cS MGS Oe O Re SR SR VER VE TM A OGG ic coe ee Enable any ReBirth channels inputs you wish to use Remember each enabled input requires RAM so it s 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 gt Enabled ReWire Channels from the Console window pop up menu Console 1 Vision amp Studio Vision Pro Audio Reference Manual 331 Q Press Play in either Vision or ReBirth Vision and ReBirth begin to play in Sync The ReWire device ReBirth Audio is already in use by another application To use this Look at the Console you set up In device quit all other ReWire compatible applications including ReBirth then launch Vision again step 7 ReBirth s audio appears in the appropri ate Console channels 9 While listening to the song set up your mix and assign any sends plug ins EQs etc that you d like OA Console 1 TE If this dialog appears quit both applica
135. the fader to Pan To record volume or pan events as you listen to your track Q Record enable the track you want the automation events in Do this by clicking in the Record column of the Tracks Window placing an R there NOTE You may want to record the fader movement onto a separate track while you re experimenting it s easier to delete your edit and you can mute and unmute the track to see how it sounds 260 Opcode Systems Inc CHAPTER 23 Adjusting Volume and Pan It s also useful to record different mixes on different tracks since you can later compare and choose between them 2 Set the desired Record mode Replace will wipe out any existing events including audio events and note events and replace them with the fader events Overdub merges automation events with existing events on the track 3 Inthe Control Bar set a Countoff or choose Wait for Note mode 4 Click the Record button If using Wait for Note you ll have to click the Start button press the Space bar or play a MIDI note to begin recording You ll hear previously recorded tracks play back as you re recording onto the record enabled track 5 Drag the appropriate fader to the left and right Vision records all fader movements in the record enabled track Faders t Proteus 2 13 Volume 7 Volume 7 Volume 7 Figure 23 7 Moving a Fader If you re alt
136. to its left The other sample rates if any represent any unique sample rates of audio files refer enced by the sequence file Vision amp Studio Vision Pro Audio Reference Manual 105 PART 4 Digidesign DAE Configuration amp Recording 3 If you wish to change the hardware sample rate click the Hardware Setup button Vision opens the Hardware Setup dialog box Use it to set a new hardware sample rate as discussed in Hardware Setup pg 101 You can if desired set a session sample rate other than one of the ones listed in the pop up menu To do so choose Other from the pop up menu Vision opens the Set Other Rate dialog box E Enter a sample rate greater than 5563 Hz and less than or equal to 65535 Hz Ete Figure 12 12 Set Other Rate Dialog Box NOTE DAE requires that the Session Sample Rate be greater than half and less than 1 5 times as large as the Hardware Sample Rate To set asession sample size CG Choose Audio gt Sample Rate Size Vision opens the Set Session Sample Rate Size dialog box Select a Session Sample Rate and Size Session Sample Rate 44100 Sample Size 16bits Figure 12 13 Set Session Sample Rate Size dialog box 2 From the Sample Size pop up select a sample size The sample size for most Digidesign hardware is 16 bits If using ProTools 24 you can set this to 24 bits All files must be at the session sample size for playba
137. to perform non real time mixes of your tracks with processing or use it to bounce a track s audio along with its assigned EQs and plug ins thereby preserving valuable CPU resources To bounce to disk a track s audio data with its assigned processing C1 In the Console Window assign plug ins and EQs to the Audio Instrument you will mix 316 Opcode Systems Inc CHAPTER 28 Mixing Digital Audio Bouncing 2 In the Track Overview select the 5 Make sure to check the option for Use desired audio region EQs plug ins etc AIFF 16 bits Mono clipping prevented Bypass this dialog next time 3 Choose DSP gt Mix T o In addition from the Output options pop The Mix dialog opens up make sure to enable the desired output destination for the mix and Macintosh whether the mix occurs pre or post out C Drum Loops era puts See Mix and Output Destinations C Guitar Sounds i pg 318 for an explanation Sound Effects l When this option is checked all selected automation data for EQs plug ins etc is also included in the mix Kix event s into 2 Space needed 636K Available 107 1 MB oie eng eng e AIFF 16 bits Mono clipping prevented Snd Migr L R next time Mf Use EQs plug ins etc Snd Mor L R Bypass this dialog next time Snd higr L R All Enabled utputs Capture Pre Outputs Capture Post Outputs 4 Specify a name a
138. to play each Audio Instrument You assign voices to Audio Instruments in the Voice column This is the best mode to use with Session 8 or any other audio system with a lot of playback voices It s also the only mode available for Pro Tools III or TDM equipped systems NOTE If you assign the same playback voice to two or more Audio Instruments they will steal that voice from one another as needed IMPORTANT Whenever Vision uses fixed voice allocation you MUST usethe Session 8 Pro Tools III recording method as discussed in Fixed Voice Allocation M ethod pg 124 136 Opcode Systems Inc CHAPTER 15 DAE Audio Instruments Default Voice Allocations Vision defaults to the following voice allo cation modes e Pro Tools III 24 fixed Dynamic voice allocation is not avail able with Pro Tools III e Session 8 Project fixed Dynamic voice allocation is an avail able option though you may hear audio bleed between outputs due to the Session 8 s internal architecture Opcode strongly recommends keep ing Session 8 in fixed voice allocation mode e ProTools amp Il dynamic If you use an entry level 4 voice ver sion of Pro Tools you ll find it most convenient to allow Vision to operate in dynamic mode However if you have 8 or more voices you might prefer using fixed voice allocation this will give you more control over your voice assignments Sound Tools Il dy
139. track data To change an Audio Instrument s assigned color CG Choose Windows gt Audio Instruments Vision opens the Audio Instruments amp Routings Window 2 Press and hold the mouse in the Color column located immediately to the right of the Audio Instrument s name Vision opens a color selection pop up menu 0O A Audio Instruments amp Routings 9 amp Audio 1 Snd Mngr 0 0 ui Snd Mngr 0 0 Snd Mngr 0 0 Snd Mane n Press and hold the mouse on a color to open a color selection pop up menu Audio Instruments amp Routine Figure 6 4 Setting an Audio Instrument s color 38 Opcode Systems Inc CHAPTER 6 Acadia Audio Instruments amp Routings Window 3 Highlight the desired color from the pop up menu and release the mouse button You can change the colors available in the color selection pop up menu To do so Choose Setups gt Colors Vision opens a dialog box containing all defined colors 2 Click the color you wish to change Vision opens a standard Macintosh color picker dialog box 3 Pick a new color and click the OK button 4 Change other colors as desired then click the OK button to close the Colors dialog box You can reset any modified colors to Opcode s default colors To do so CG Choose Windows gt Instruments Vision opens the MIDI Instruments Window 2 Choose Initialize Colors from the Instruments
140. two holding areas as still being used by the Vision file If you want to see an accurate current display in the File Management dialog box you should clear the Clipboard and the Undo Buffer You shouldn t perform this operation if you have any information in the Clipboard or the Undo Buffer that you still want file This command is particularly useful if you have recorded several takes in sepa Vision amp Studio Vision Pro Audio Reference Manual 299 PART 6 Advanced Audio Techniques 300 Opcode Systems Inc CHAPTER 26 Sample Rate Conversion and Deinterleaving WHO SHOULD READ THIS CHAPTER This chapter applies to all of the audio systems supported by Vision but not all users may find reason to perform these tasks You may sometimes find it necessary to either convert the sample rates of existing digital audio files or deinterleave them There are a couple reasons for this e f you used an earlier version of Studio Vision you may need to con vert audio files created it under a different audio playback mechanism e You are importing audio files that have different sample rates than the audio files already referenced by your Vision file e You may want to convert from DAT sample rates 48 kHz to CD rate 44 1 kHz e You may have applications that require different sample rates such as multimedia use Web use creating files for CD mastering etc ABOUT SAMPLE RATE CONVERSI
141. using many flexible editing procedures M ost MIDI sequencing techniques apply equally to audio Vision amp Studio Vision Pro Audio Reference Manual PART 1 Introduction to Digital Audio Vision performs many audio recording editing and playback functions including M ultitrack audio recording M ultitrack audio playback either alone in conjunction with internal MIDI tracks or synchronized to an external timing source Visual display of audio all audio events are displayed visually for easy editing Random access audio editing cut copy and paste audio between tracks or between different start times F or example you can record a single vocal chorus then copy and paste it into all other chorus regions Audio mixing you can create virtual audio mixes along with your MIDI mixes or you can bounce numer ous audio tracks to disk to create a new digitally perfect audio track Signal processing DSP you can add many studio quality effects and other processing functions including Adobe Premiere compatible audio plug ins ABOUT THE AUDIO REFERENCE MANUAL This manual assumes you re familiar with basic M acintosh operations Vision s win dows and MIDI sequencing techniques and OMS Navigating this Manual Good news This manual isn t as thick as it appears The Audio Reference M anual iS divided into seven parts not all of which need to be read by all users Specif
142. velocity values of your exist ing MIDI notes instead of those It derives from the audio data Figure 39 7 MIDI conversion w spurious note removed The following examples illustrate why these parameters are helpful and how to use them EXAMPLE 1 Wailing Assume you have a recording of a flowing passionate coloratura vocal performed in a non western scale Such as some middle eastern vocals If you d like to convert that vocal to MIDI data and play it on a synthesizer you ll need to forget about generating M IDI notes there basi cally aren t any Vision amp Studio Vision Pro Audio Reference Manual 403 PART 7 Menus To convert this type of audio performance into MIDI GQ Inthe Graphic Window draw a single MIDI note that runs the duration of the audio event you wish to convert Draw that MIDI note roughly in the middle of the range of pitches being sung Shift click the MIDI note and the audio event to select both Choose DSP gt Audio to MIDI Vision opens the basic Audio to MIDI dialog box Click the More Choices button to see the expanded dialog box Check the Use generated notes option Un check the Generate new velocities option O Check those values you want to generate such as pitch bend volume and brightness Make sure to set a very wide pitch bend range such as 12 semitones on both the Audio and MIDI sides of the dialog box
143. you if any are missing Locating Missing Audio Files In many cases if you change the name of an audio file or move it into a different folder Vision s aliasing system will still find and recognize the file However in some cases Vision may not be able to locate the audio data necessary to play back the sequence When you attempt to open a sequence that references such a file a dialog box will prompt you to locate the missing file This dialog box is the same as the Import dialog box discussed in Importing Audio pg 207 NOTE You can audition files from this dialog box to make sure you are selecting the correct one Just select the file by click ing on it and click the Play button If you can t locate the file and still want to open the sequence click Cancel All data except that file will open in the sequence TIP for Acadia users If there is more than one audio file missing and you wish to avoid locating all of them hold down the Option key when you click Cancel in the first dialog box 244 Opcode Systems Inc CHAPTER 22 Auditioning Audio This chapter discusses how to use Vision to audition multiple takes of audio Basi cally there are two ways to audition takes e Audition individual audio events e Audition individual Audio Instruments The following sections discuss how to audition audio using these two methods WHO SHOULD READ THIS CHAPTER This chapter applies t
144. you must convert entire events 2 Choose DSP gt Convert Sample Rate Unless you disabled its display in the DSP Preferences dialog discussed on page 423 Vision opens the Convert Sample Rate dialog box The dialog box displays the sample rate of the existing audio and contains a field for entering the new sample rate Convert Sample Rate Old Sample Rate 44100 New Sample Rate 22050 Figure 33 8 Convert Sample Rate Dialog Box 3 Enter the desired sample rate in the New Sample Rate numerical 4 Click OK Unless you disabled its display in the DSP Preferences dialog discussed on page 423 Vision opens a Save As dialog box 362 Opcode Systems Inc CHAPTER 33 DSP Menu Mix Normalize Reverse Invert Phase and Convert Sample Rate cS Audio 1 HD Desktop Process event s into Cancel My Song 001 Res OSIE Space Needed 1 4 MB O Bypass this dialog next time Available 863 6 MB Figure 33 9 Save As Dialog for Convert Sample Rate When you convert the audio s sample rate Vision constructs one or more new audio files depending on the file saving option you select in the DSP Prefer ences dialog box discussed on page 423 It leaves your original audio file or files unaffected 5 Use the File Format pop up menu to specify the desired file format AIFF or Sound Designer Il 6 Navigate to the folder in which you want to save the file By default Vision selec
145. z Drums a gt Guitar Harmony fh Shuffle Shuffle Audio 1 PA Shuffle Audio 2 Mix event s into Shuffle 001 Mix Space needed 1 1 MB Available 976 7 MB AIFF 16 bits Mono clipping prevented O Bypass this dialog next time Figure 28 2 Save As Dialog Box for DSP gt Mix Command If you want to store the mixed audio in a different format than indicated click the Format button The Audio Format dialog box appears z Audio Format File format AIFF J Sample size 16 bits C Normalize Prevent Clipping Output file size 728K Wi Bypass this dialog next time Figure 28 3 Audio Format Dialog Box Use this dialog box to tell Vision what type of audio file to create This is a subset of the full Audio Format dialog box described in Anatomy of the Audio Format Dialog Box pg 228 Click OK The Save As dialog box reappears Vision amp Studio Vision Pro Audio Reference Manual 319 PART 6 Advanced Audio Techniques Click the Save button Vision computes the mix of the wavedata it s mixing If you chose to mix audio to Stereo two mono files clicking the Save button Opens a second dialog box in which you name and save the right channel file Mining wavedata Seconds remaining NOTE The number of seconds refers to the length of the audio file not the amount of time required by the mix operation After mi
146. 0 3 assume you change your con sole to look as follows Bus 5 ig Pest 92 w no plug in 90 Output 5 6 Figure 10 4 Sample console 78 Opcode Systems Inc CHAPTER 10 Acadia Bussing Routing amp Bouncing to Disk Based on what you learned earlier you know that when Input 1 is record enabled and the Thru mode is set to either On or Auto then e Themonitored signal from Input 1 is sent to Output 5 6 e The monitored signal from Input 1 is also sent to Bus 1 where reverb is added Bus 1 s volume fader controls the amount of reverb that s mixed with the signal Here s where things get interesting N otice that console channel 3 sends the signal present at Input 1 to Output 8 This means that the signal present at Input 1 always appears at Output 8 even when e Input 1 is not record enabled e the Thru selector pop up menu Is set to Off e you change the Audio Instrument assigned to Input 1 in the Record M onitor Window e Vision is playing recording or simply idle Also if you use any Audio Sends or plug ins they too operate on the input signal This gives you a way to create a virtual mixing board within Vision As discussed in Output Assignments pg 42 you can assign outputs to audio channels from either the Audio Instru ments amp Routings Window or a Console Window NOTE Some ASIO drivers may exhibit a noticeable latency in th
147. 1 Figure 27 2 Audio After Performing a Strip Silence Audition the gated audio If you re not happy with the results choose Edit gt Undo Strip Silence and use a different set of Strip Silence parameters Like other edit operations the Strip Silence command is non destructive The silence data remains on your hard disk unless you use the Compact command ee ere et ee ee reat AUTO SEPARATING WITH SLICE AUDIO The Slice Audio command can be used to separate one long audio event into several Short events based on the silence in the audio file To slice audio first determine what ampli tude level should trigger the beginning of an event Then determine how long the amplitude must stay below this level for a new event to be generated Finally deter mine the desired attack time for the new events To auto separate an audio event Make sure either Fast or High Resolution is checked in the Audio gt 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 events you wish to affect In this example we ve selected a vocal part We ll split this part into individual words Lead Yooal Figure 27 3 Audio before slicing Choose Audio gt Strip Silence Slice Audio Vision opens the Strip Silence dialog box strip Silence SS Silence threshold 13 JE Minimum durat
148. 1 mono file Linked 2 mono files 2 mono files 1 stereo file Interleaved 1 stereo file 2 mono files 1 stereo file Figure 20 15 Export Audio Events Channel Matrix Normalize This pop up menu replaces and expands upon the old Audio gt Normalize on Mix option in previous versions of Vision UTT 7 Prevent Clipping e Off Vision does not adjust the gain of the exported mixed or saved audio file This is a good choice if the file you re creating needs to be further mixed with other audio files and you want to maintain its volume relative to other files in the sequence Important If you turn off normaliza tion then it s possible to create a file with clipped audio This could happen if for example you mixed two drum tracks both of which had audio peaks that occurred simultaneously On Vision automatically changes the overall gain of the exported mixed or saved audio file so that its maxi mum amplitude is 0 dB This yields a file with maximum volume and no induced clipping This is a good choice if the file you re creating is meant as a final master for distribution such as files created with Vision s File gt xport Audio Mix command Adu rate lace 232 Opcode Systems Inc CHAPTER 20 Import Export Cornucopia e Prevent Clipping Vision adjusts the overall gain of the exported mixed or saved audio file only if that file would contain clippe
149. 18 Assign an Audio INStrUMent ssssssessrssnrrsenrrnnrnnnrrnnnrrnerrnserrnennns 119 RECOrEa I Es uiine 120 Advanced Recording Techniques ccccscscssesssssesssseesressereeseneesss 121 SLCF SOAR CCOMGIMNG saciinautiscsnsCoadsiucensen ea aamannwvacetnnainvnntcnstuninessancasai 122 Recording M ultiple TAKES ccsescsssssssseessssressssressssressesreesses 123 Recording Audio While M onitoring Existing Audio Events 124 Other Recording ACtIONS ccescessssessssesssseesssresssnresssnreessneeeses 126 Recording Audio from Other Points inthe TDM Chain 127 Punching in on the fly with QUICKPUNCH cessessesessreseteess 127 Setting the BUPfer SIZE nnana 130 DAE Audio Instruments 131 Opening The Audio Instruments WINGOW cccsesseesssreesesreeeens 131 Setting tHe Number of Audio INStrUMENTS ccesescesteessteeseeees 132 Naming Audio INStFUMENTHS ccecccescsreescsteesssresssresssetessteeeseitess 133 Opcode Systems Inc Table of Contents Setting Audio Instrument COlOLS cccscescesesreessseeesstessseeesenrteeens 134 M uting or Soloing an Audio INStrUMENL cccescesesssteesereeseees 135 V OIC GC OUDIT casi ide rtemedaa cra N a E 136 Voice Allocation M Od S ccccsssecsesssessseesseesseessassseessaeeeaes 136 Stereo POLY COUM isores 138 OUTA SSIOM LIMON aa a A E 142 sends and Plugins COMIS aracissasoan a 145 The Audio Instruments M Qn sessssssesrrssrssrrrsrr
150. 4 to 63 which adds up to a total of 128 possible settings just like all other M IDI controllers In previous ver sions of Vision audio pan events had the same values When files created 276 Opcode Systems Inc CHAPTER 24 Automation in previous versions are opened into Vision 4 5 or later audio pan data will be remapped to take advantage of the full 100 to 100 range In addition to the increased sensitiv ity having audio pan displayed with this range makes it easy to distin guish at a glance whether you re dealing with audio or MIDI pan data Audio pan events are displayed with two decimal points in the Consoles window and with three decimal points in the List window Mute and Solo M ute and Solo events control the on off status of the chosen Instrument s M ute and Solo settings Unlike most of the other commands in this menu Mute and Solo can affect Audio or MIDI Instruments Keep in mind that these events affect Instruments rather than tracks For more information about the simi larities and differences between tracks and instruments when muting and soloing please see your MIDI Reference M anual Send Levels Send 1 Level Send 2 Level Send 3 Level Send 4 Level Send level events control the level of audio sent to a specific send Sends are addressed by number so even If you change the output of a send the automation data will remain Send level events can have values ra
151. Acadia 65 Plug In Edit window TDM 153 Smooth Audio Preferences Acadia 90 Audio Preferences DAE 174 Smooth Audio Controllers 126 450 Opcode Systems Inc Index Acadia 90 DAE 174 SMPTE Time Scale dialog box 387 Solo 277 Audio Instruments DAE 135 Audio Instruments window 40 EQ window 70 Plug In Edit window Acadia 65 Plug In Edit window TDM 154 soloing Busses 40 Sound Designer II 210 in Audio Format dialog 228 operations 350 with Edit Event Soundfile DAE 349 Sound File Information Import Audio dialog DAE 210 Sound M anager ASIO driver 13 15 control panel 16 Sound M anager Input Options 16 Sound Tools Record M onitor 113 Source Record M onitor Acadia 22 Record M onitor DAE 110 start times audio events changing 190 stereo Audio Instruments DAE 138 139 Busses DAE 139 Inputs DAE 140 Outputs DAE 140 Stereo 1 interleaved file in Audio Format dialog 231 Stereo 2 mono files in Audio Format dialog 231 stereo Audio Instruments and importing audio Acadia 208 Stereo column Audio Instruments window 41 stereo files importing Acadia 208 playing Acadia 42 stereo in stereo out plug ins 51 stereo plug ins using 52 using TDM 151 stereo recording Acadia 31 DAE 122 stereo voicing Pro Tools III 24 141 stereo vs mono in Console 46 Strip Chart and M aximum F ader Position 270 audio volume pan 256 automation events 266 Strip Silence 307
152. Advanced Record ing Techniques for more details and techniques involving recording Vision amp Studio Vision Pro Audio Reference Manual 121 PART 4 Digidesign DAE Configuration amp Recording Stereo Recording To record a stereo track Q Inthe Record Monitor Window click the Link Pairs option to check it In order to create a stereo event with DAE Vision must create two mono audio files and link them together into one event This new audio event is called a stereo linked event Any future editing affects both halves of the linked event simultaneously Enable two linked input channels by clicking their Record Enable Indicators The Record Monitor Window indicates linked pairs by connecting them with a straight line Linked Pairs are indicated with a connecting line Oe Record Monitor H 45 26 10 2 Clip Record File Available Instrument O LongTime Fix Audio 1 O none e Input 3 4 DNNANANANANANAN A O none DNDNANNNNNNNNAN A O none O puts Mannnmnnnnannii i D none NNNTONNNNNNNNAN E C none Q Input 7 8 DNNDINNNNONNNNN A C Crone DNADINNNNDNNNAN A C Cone Checking the Link Pairs option causes two audio inputs to share a single Audio Instrument If the selected Audio Instrument is not stereo and Link Pairs is checked when you enable an input pair Vision will prompt you will the following dialog mono When recording with Li
153. Audio Reference Manual for Vision and Studio Vision Pro Version 4 5 Opcode Systems Inc 365 East Middlefield Road Mountain View CA 94043 Opcode Part Number 110 0208 07 Copyright 1999 Opcode Systems Inc All rights reserved This document may not in whole or part be copied photocopied reproduced translated or converted to any electronic or machine readable form without the prior consent of Opcode Systems Inc OPCODE SYSTEMS INC MAKES NO WAR RANTIES EXPRESS ORIMPLIED INCLUDING WITHOUT LIMITATION THE IMPLIED WARRANTIES OF MERCHANT ABILITY AND FITNESS FORA PARTICULAR PURPOSE REGARDING THIS SOFTWARE OPCODE DOES NOT WAR RANT GUARANTEE OR MAKE ANY REPRESENTATIONS REGARDING THE USE OR THE RESULTS OF THE USE OF THIS SOFTWARE IN TERMS OF ITS COR RECTNESS ACCURACY RELIABILITY CURRENTNESS OR OTHERWISE THE ENTIRE RISK AS TO THE RESULTS AND PERFORMANCE OF THIS SOFTWARE IS ASSUMED BY YOU THE EXCLUSION OF IMPLIED WARRANTIES IS NOT PERMIT TED BY SOME STATES THE ABOVE EXCLUSION MAY NOT APPLY TO YOU INNO EVENT WILL OPCODE ITS DIREC TORS OFFICERS EMPLOYEES OR AGENTS BE LIABLE TO YOU FOR ANY CONSEQUENTIAL INCIDENTAL OR INDI RECT DAMAGES INCLUDING DAMAGES FOR LOSS OF BUSINESS PROFITS BUSI NESSINTERRUPTION LOSS OF BUSINESS INFORMATION AND THE LIKE ARISING OUT OF THE USE ORINABILITY TO USE THIS SOFTWARE EVEN IF OPCODE HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES BECAUSE SOME STATES DO NOT ALLOW
154. Audio Tempo commands Pitch Shift Formant Shift Time Scale Adjust Audio Tempo EEE Figure 36 1 DSP Menu DSP commands are constructive mean ing they create new audio files without altering your original audio data DSP commands work on mono stereo interleaved or linked audio files with bit depths of 8 16 or 24 If you select multiple audio files on which to perform a DSP operation all selected audio files must be the same type mono interleaved or linked and the same bit depth 8 16 or 24 The only exception to this rule is the Mix command You can undo any DSP command This provides a convenient way to do an A B comparison between the processed and unprocessed audio The following sections describe the Pitch Shift Formant Shift Time Scale and Adjust Audio Tempo algorithms in detail Vision amp Studio Vision Pro Audio Reference Manual 379 PART 7 Menus PITCH SHIFT Use this command to change the pitch of any audio event s without changing the playback duration You can pitch shift audio up or down as much as one octave TIP If you wish to shift pitch more than an octave use the Pitch Shift command more than once Keep in mind that the audio quality will suffer the further you shift the pitch from its natural frequency To use the Pitch Shift command C1 Select the audio event s you wish to pitch
155. Chapter 20 mport Export Cornucopia 174 Opcode Systems Inc Basic Audio Editing amp Playback Vision amp Studio Vision Pro Audio Reference Manual 175 PART 5 Basic Audio Editing amp Playback 176 Opcode Systems Inc CHAPTER 18 Working with Audio Events Every time you record digital audio Vision creates an audio event This chap ter discusses how to view select and move audio events NOTE Audio events are defined in Chapter 2 Basic Terminology Peri ee eee MM AUDIO EVENTS IN DIFFERENT WINDOWS Y ou can select audio events for editing either in e the Graphic Window in the area between the Piano Roll and the Strip Chart e theTracks Window s Track Overview area e the List Window Events you select in one window are auto matically selected in the other and each window updates to display changes after editing Graphic Window Audio events are displayed as waveforms in the Graphic Window between the Piano Roll and the Strip Chart Figure 18 1 shows a typical Graphic Window and the audio information con tained within it Figure 18 1 Typical Audio Graphic Window with Multiple Audio Events amp Instruments Labeled in the Graphic Window are Audio Instruments Audio Events Audio Event Names Vision amp Studio Vision Pro Audio Reference Manual 177 PART 5 Basic Audio Editing amp Playb
156. DAE does not play back interleaved stereo files If you have interleaved stereo audio files you wish to use with this version of Vision and DAE you must deinterleave them This process turns your single interleaved stereo file into two linked mono files It does not change the sound quality Deinterleaving creates two files each half the size of the original file You don t need to deinterleave files if you re working with Acadia _ Ot CONVERTING SAMPLE RATES SIZES AND DEINTERLEAVING If you need to convert audio files follow these steps Q Open the desired Vision file that references the audio files you wish to convert If you open a Vision file with references to audio files that need conversion the Conversion Overview dialog opens auto matically If the Conversion Overview dialog doesn t open then the Vision file does not reference audio files that need conversion Conversion Overview The checkmarked audio files below are either stereo interleaved or not at the Session Sample Rate or both Click Convert or Convert All to perform the appropriate conversions Session Sample Rate 44100 con Sample Size 16bits Hardware Setup Convert All Filename SR Hz SS Bits Chans Slip Right 44100 16 Stereo Snare Power 44100 16 Stereo Zaps 44100 16 Stereo Figure 26 1 Conversion Overview Dialog Box Choose the target sample rate from the
157. Displaying Audio Sends Obviously there is no need for a pan To display Audio Sends fader if i Ea q From the Console Window s e you send a mono audio signal to a menu press and hold the mouse single output or on the Audio Sends command e you send a stereo audio signal to an Studio Vision produces a submenu of output pair Send options NOTE Mono Audio Instruments can 0 2 A E become stereo if you use a mono in ste reo out TDM plug in to process the audio signal For more information see Using Mono TDM Plug Ins pg 152 Plug Ins If you uncheck the Master Instrument option in the Console Window s menu then pan faders will always be visible since in this mode pan faders can control any Instrument and any type of M IDI data not just pan 158 Opcode Systems Inc CHAPTER 16 TDM Bussing Routing amp Plug Ins 2 From the submenu select the number of Audio Sends you want to access per channel gt EEEE O MM Channel Width k 4 1 SE ae Hidden d 1 Send Shor Plug ins TET 2 Sends 3 Sends 4 Sends Studio Vision adds a Send area to each audio related console channel Sh Cardar inf Two new undefined Audio Sends per 0 008 00E channel Output 1 2 Output 1 Audio 1 Audio Anatomy of the Send Area Figure 16 12 Anatomy of the Send Area As you can see in Figure 16 12 there are three main elements in the
158. Drum Kits Right 00 27 12 DRRRRRRRRRNNN11 1 O Cymbals 00 27 12 00 27 12 Instrument Audio 1 Audio 2 Audio 3 Audio 4 mes Audio 6 Audio 7 Audio 8 Audio 10 Audio 11 Sound Tools Il Record Monitor 45 26 10 2 Clip Record File ANNININANANNNNN A DO Guitar ANNNNNNNNNNNNNN A D Bass ANNNTDNNONNNNNE A D vocal 1 AONANONANANNNNN A O Vocal 2 CO Auto Compact Thru Off Available 00 06 26 00 06 26 00 06 26 00 06 26 Instrument Audio 1 Audio 2 Audio 3 Audio 4 O Link Pairs Figure 13 5 Typical Record Monitor Window for Sound Tools II SERBS 99999999 8 D Hi Hats Mono Mix 00 27 12 Audio 12 cf i oer zan i O POSA Audio 14 Audio 15 Audio 16 O Link Pairs SHAMANS A O none ANNNANNANANNNNN A O none DONNANINNANNNNH A O Cone C Auto Compact Figure 13 3 Typical Record Monitor Window for a 16 Channel Pro Tools or Pro Tools II System For example if you have 2 Pro Tools cards you ll see 8 input channels 3 cards will result in 12 input channels and 4 cards yields 16 input channels Session 8 Project 0O A Record Monitor 45 26 10 2 Clip Record File Available Instrument D Guitar 00 06 26 Audio 1 D Bass 00 06 26 Audio 2 D Vocal 1 00 06 26 Audio 3 D Yocal2 00 06 26 O none D none D none D none O Auto Compact Figure 13 4 Typical Record Mo
159. Duration and Vision scales the selected audio to last for that amount of time For example if you know the selected audio has to be exactly 6 Bars long enter that value in the Duration numerical Vision automatically fills in the End Time and Scale Factor numericals IMPORTANT You cannot lengthen an audio event by more than double nor can you shorten it by more than half If you wish to do so you ll need to make multiple appli cations of the Time Scale command Keep in mind that the more you scale audio the more its sound quality will suffer Using the Time Scale Command Select the audio event s you wish to time scale If you select a portion of an audio event the entire event will be time scaled Therefore if you want to scale only a portion of an event you must first sepa rate that portion into a new event using the Audio gt Separate command 2 Choose DSP gt Time Scale Unless you disabled its display in the DSP Preferences dialog discussed on page 423 Vision opens the Time Scale dialog box Vision amp Studio Vision Pro Audio Reference Manual 387 PART 7 Menus 3 From the Display pop up menu select the mode in which you wish to view sequence times In this example we ve selected Bars Beats mode Time Scale Start Time End Time Duration Old i eee ral l New Pomidite Display Bars Beats Scale Factor 0 966 Figu
160. E TDM and record the vocoded signal in real time Before reading this you should be familiar with all recording techniques as dis cussed in Chapter 14 DAE Recording Audio and all the bussing concepts described previously in this chapter In general to record from an alternate place in the TDM chain CG Configure your console with inserts buses SampleCell etc 2 Inthe Record Monitor Window select the input source from the Input pop up menu Input 1 h SERRE 2 Input 2 SESSE9P eee 3 Set up the Audio Instrument destination and record For general recording information with DAE consult Recording Step by Step pg 116 What follows are specific instructions for each type of input source for recording Recording from Hardware Inputs Recording from hardware inputs is the most common way you will record in Studio Vision The signal coming into one Or apair of the inputs from your audio interface is recorded to a hard disk track Audio Instrument When recording from an input no effects or volume fader information is recorded A description of recording from inputs is found in Record ing Step by Step pg 116 Vision amp Studio Vision Pro Audio Reference Manual 169 PART 4 Digidesign DAE Configuration amp Recording Recording from SampleCell TDM Recording from a TDM equipped Sample Cell is similar to using hardware inputs Use this to record a digital audio versio
161. EFFECTS series let you Save parameter settings under a specific name By creating and storing a number of different parameter sets frequently called patches you can create your own library of specialized effects which you can apply to any audio file in Vision Allocate More RAM to Vision Some Premiere plug ins may use a size able portion of Vision s RAM allocation to run 422 Opcode Systems Inc CHAPTER 37 DSP Menu Premiere Plug Ins and DSP Preferences For this reason you should always increase the amount of RAM allocated to Vision if you wish to run Premiere plug ins Different plug ins require different amounts of RAM Some may require an allocation increase of only 1 or 2MB others may require as much as 8MB BOTTOM LINE Always increase Vision s RAM allocation as much as possible if you plan to use Premiere plug ins DSP PREFERENCES Choose this command to open a dialog box in which you tell Vision how to manage all the audio events and audio files created by the various DSP commands For each or every DSP command you can specify e Whether or not to display the DSP menu s settings dialog box if it has one e Whether or not to display a Save As dialog box each time you perform a DSP function e How the files are written to disk e Where the files are saved and in what format e How files are automatically named You can make these selections globally or save t
162. Fad ers see your MIDI Reference M anual Copy Faders now includes many more parameters than it used to Following are some scenarios These figures include Console strips and the events that appear in the List window after using Copy F aders Example 1 Basic Console Strip No send here no send level event no send ne plug in No plug in here no plug in parameter events Ott 0 000 dE o00 ka Figure 24 19 Copy Faders Example 1 Phase Invert EQ Enable M ute Solo Vol ume and Pan will always be copied for each audio channel regardless of any other parameters Since there are no sends or plug ins assigned no events are written for those options Example 2 Solo Phase Invert and a Send tho plug in EQ ON fe toate Liga r 0 000 d O 00d Figure 24 20 Copy Faders Example 2 In example 2 phase invert and solo have been turned on and a send has been assigned Note that the List Window dis plays Send 1 Level regardless of the destination of the Send it doesn t say Send to Bus 1 Level Vision amp Studio Vision Pro Audio Reference Manual 273 Example 3 EQ Enabled Send 1 Level Phase Invert EQ Enable EQ Band 1 Enable EQ Band 1 Type EQ Band 1 Freq EQ Band 1 Gain r O00 dB 000 dE Figure 24 21 Copy Faders Example 3 In example 3 EQ Enable has been set to O
163. Fast mode Redrawing in High Resolution mode is slower than in Fast mode when zoomed In IMPORTANT You may want to raise the tempo in order to be able to zoom in more while using the High Resolution display H owever before you perform any edit oper ations make sure you revert the tempo to the desired playback tempo ee SHOW AUDIO EVENT NAMES If the Audio gt Show Audio Event Names option is enabled checked audio event names are displayed in the lower left corner of the event in the Graphic Window This option does not affect audio event names in the List Window where names are always dis played and can be edited or the Tracks Window where the waveform Is too small to contain any text Vision amp Studio Vision Pro Audio Reference Manual 355 PART 7 Menus Display Names enabled Display Names disabled Figure 32 18 Audio Event Names in the Graphic Window Initially audio events default to the name of the referenced audio file or the region of a Sound Designer II file if you importa region but you can rename audio events for easier identification To learn more about naming audio events see Renaming Audio Events pg 184 MIX AUDIO ON CAPTURE If the Audio gt Mix Audio on Capture option is enabled checked Vision includes audio data in a Capture operation when you choose one of the Edit gt Cap ture commands For details on how to capture audio into a mix see Capturing a
164. Figure 32 2 Selecting a Region of Audio Events to Retain 2 Choose Audio gt Retain Vision clears the data in any selected audio events that appear outside the selection region Figure 32 3 Retained Audio The Retain command can be undone since it does not actually remove data from your hard disk rather it simply removes the track s pointer to that data Also you can lengthen any audio events that were automatically trimmed by the Retain command as discussed in Trim ming or Lengthening Audio Events pg 195 NOTE Aswith other edit operations you ll most likely want to display the waveform in High Resolution mode when you use the Retain command this lets you see more clearly the peaks and valleys of the wave form For more information see Waveform Display pg 354 SEPARATE Y ou can separate a single audio event into many separate audio events For example Suppose you have a speech track and you want to rearrange the words You can sep arate the single audio event into many separate audio events one for each word then shuffle them around to create entirely new sentences You can separate an audio event into mul tiple events in one of two ways e You can split an audio event at the edit point e You can separate a section of an audio event from the rest of the event To split an audio event CG Inthe Graphic Window select either the Marquee or I beam tool Figure 32 4 Marquee and I
165. For example you could have an Audio Instrument assigned to outputs 1 2 and 4 but you cannot have al and 5 assignment 98 Opcode Systems Inc CHAPTER 12 DAE Hardware Setup et buffer DAE uses the RAM buffer to store AUDIOMEDIA II III digital audio temporarily before sending it isk f laying it Vision supports the M acintosh NuBus ey OU ENR els kyo a and PCI version of Audiomedia IMPORTANT Don t confuse the RAM buffer with the application RAM size The To use the PCI version of Audiomedia III a Ter PE L ORNATE Te you must have dedicated to temporarily storing digital e DAE 3 0or later audio the application size determines the DSI 3 0or later amount of memory dedicated to Vision NOTE Because Vision addresses Digide sign s DAE software some of these illustrations and instructions may change e DAE 2 95 or later as DAE and DSI update Please reference e DSI 2 95 or later your Digidesign documentation for the latest information about setting up your hardware and software To use the NuBus version of Audiomedia Il you must use SET VISION TO DAE MODE To use Vision with DAE select Audio gt Audio System gt DAE to place a check mark next to the option Audio System Figure 12 1 Selecting the DAE Audio System ALLOCATING RAM TO THE DIGITAL AUDIO RAM BUFFER PRO TOOLS III Project Owners of these systems can skip this section since Vision uses a Special RAM buffer included on the di
166. GIO SYStE Mx nue a A 353 Wavelorm ACID Cirditeutidionmsiriniodnenterenietiaeataiaanenen 353 Waveform DISDIAY acraea 354 Show Audio Event NamMeS ssesssssrssrrsrrssrrrsrrssrrennrnsrnsnrrsnrnrsrnserao 355 M ix Audio on CAPtUIe cccessesssesssessesessssesssseesseeesseeesseeeseeesas 356 ACUVEIN BACK OLOUN Ornraiene iea aa 356 AUGIO Preferentes renani E 356 DSP Menu Mix Normalize Reverse Invert Phase and Convert Sample Rate357 M a E ate 358 NOMAN Ze zai a a aa a a a e 358 PENIS Carpe tee OE AAE E EE OE E ANA EE AE AEA 359 INVER NaS cece cet act at E ten chen ate aren dec pte auetaacnee ots 361 Convert sample R ale inwwisitiusiwadi end niente da vattanmanen 362 DSP Menu EQ and Fade Crossfade365 Fetes sect cece netic astra TE I nuaset utes 366 Fadel Crossa E sci casinatiatnuaiinvedeena ancestor Gariacuasnysniedids 369 Creating Fade Ins and F ade OUtS cccsessssreessseessseesssren 370 Creatina Crossfade Snina aa tutesbianeaien 374 DSP Menu Pitch Shift Formant Shift Time Scale and Adjust Audio Tempo379 PREM SAI nea ete came niels oh hat ten iiated taneucn al 380 FO WAV SNI een a ansnteten oaeaeaetioonnanauetss 383 Opcode Systems Inc Table of Contents MNE SCal Csstcest cicwunstassaenstencieg a 386 A QIUSTAUAIO TEMPO renr aaa aE a AAEE 389 CHAPTER 36 DSP Menu Audio to MIDI and MIDI to Audio 395 Who Should Read This Chapter sssssssssssrsersnrrsrrrsrrsrrrsrrrsrrserrrsns 395
167. Graphic Win dow s waveform display F eel free to experiment with different thresholds Once you gate or auto separate audio with the Strip Silence Slice Audio com mand you can audition it if you re not happy with the results undo the com mand and try a different Threshold Level Vision amp Studio Vision Pro Audio Reference Manual 311 PART 6 Advanced Audio Techniques Minimum Duration Besides setting athreshold level you must also tell Vision how longa signal must remain below that threshold before stripping it away or allowing the genera tion of anew event Use the Minimum Duration numerical to set the amount of time the signal must stay below the threshold level before it s recognized as silence You can set this number between 10ms and 1 000ms When working with Strip Silence long settings will strip areas between phrases but not the brief pauses between words or drum beats for example Short settings will strip areas between words or even syl lables Of course Slice Audio will not strip away the silence but it will generate a similar number of events Values around 100 milliseconds make a good starting point As shown in Figure 27 9 setting asmaller duration results in more but shorter audio events than setting a longer duration 1 Original audio event Strip Silence Silancethreshold 12 ae Minimum duration 300 mses Attack time 20 O moos 20 msecs Release time
168. I Dialog Box If you click the More Choices button ina basic Audio to M IDI dialog box the box expands to show all the Audio to M IDI a MIDI device is based on that device s pitch bend range parameter Some devices globally apply a pitch bend range to all patches other MIDI devices apply different pitch bend ranges to each patch Vision must know the pitch bend range of your MIDI device before generating MIDI pitch bend data this insures that Vision creates the proper pitch bend values Enter the pitch bend range of your MIDI device into the Pitch Bend Range numeri cal Always make sure that this value is greater than or equal to the Pitch Bend Exceeds numerical as described in Item B rightness If you select this option Vision creates M IDI bright ness data to insure that your MIDI data matches the relative timbral values in your original audio file Gen erally MIDI brightness is mapped to controller 73 but you can select any controller value from the correspond ing pop up menu parameters C Audio to MIDI Audio MIDI Vocals male Instrument Audio 1 to C4 Input Range E1 Create new note if Pitch bend exceeds 12 semitones Note length exceeds 0 10 secs Pitch is stable for 0 30 secs Conversion Speed Fast 2 Concert 440 00 C Unpitched Audio assign to Cc O Instrument Nrd 3 Generate Not
169. IVIDUAL AUDIO EVENT LEVEL VELOCITY To adjust the relative volumes of individ ual audio events Open a List Window for the desired track 2 Drag each audio event s velocity numerical to the desired value H I 33 1 0 Figure 23 1 Individual Audio Event Velocity in the List Window NOTE You can also adjust audio event velocities in the Tracks and Graphic win dows Strip Chart using the same procedure that you d use to adjust MIDI note velocities a ee en ee a ee er CREATING VOLUME AND PAN LEVELS FOR AUDIO INSTRUMENTS To adjust the overall volume and pan of multiple related audio events CG Assign the related audio events to the same Audio Instrument 2 Create audio volume events and audio pan events on that Audio Instrument All audio events assigned to that Audio Instrument will be affected by adjust ments to the volume and pan controllers Y ou can create audio volume and pan events in either the List Window or the Strip Chart as discussed in the following sections SESSION 8 Project These systems do not process volume and pan data as efficiently as other DAE hardware therefore volume and pan changes may occur at slightly different probably inaudible times each time you play a sequence file 254 Opcode Systems Inc CHAPTER 23 Adjusting Volume and Pan Using the List Window To Insert audio volume or pan events in the List
170. Management menu 298 Fine tune Pitch Shift 380 Fixed Voice Allocation 124 136 and audio playback 202 203 assigning voices 124 137 fixing wrong notes with MIDI to Audio 408 Flip button Plug In Edit window 65 Formant Shift changing a singer s gender 385 Formant Shift command 383 Format button 233 Frequency EQ Band parameter 278 in EQ dialog box DSP menu 367 368 G Gain EQ Band parameter 278 gain faders EQ area 55 gating audio with Strip Silence 308 Generate new velocities Audio to M IDI dialog box 403 Opcode Manual Template 441 Index Get Event Info command 184 347 shortcut 347 Graphic window audio events 177 Audio Instrument assignment 191 importing audio 212 selecting audio events 184 Grow Waveform Height 182 353 H Hardware Sample Rate vs Session Sample Rate 302 Hardware Setup Device 15 Hardware Setup Acadia 352 Clock Source 15 Open Control Panel 16 Sample Rate 15 Hardware Setup DAE 101 Card to Use 102 Card Type 101 Channel 1 2 Input 103 Digital Format 103 Disk I O 102 Interface 103 Other Options 103 Sample Rate 103 Select Card Type 102 Session 8 102 Slot 102 Sync M ode 103 Hardware Setup button in Conversion Overview 305 harmony creating using MIDI to Audio 411 High Cut automation 279 EQ type 72 High Pass in EQ dialog box DSP menu 367 High Resolution Waveform Display 182 355 High Shelf automation 279 EQ type 72 IMA 4 1 in Audio Format dia
171. Max Number Of Audio Events Number Of Voices Supported By Your Audio Hardware For example if you have a four voice system such as Digidesign s Sound Tools Il and you check the Poly column for Audio Instrument 1 then Audio Instrument 1 can play up to four audio events simultaneously provided they are on separate tracks 138 Opcode Systems Inc CHAPTER 15 DAE Audio Instruments Poly Mode Off If an Audio Instrument s Poly column is not checked the poly mode is disabled for that Audio Instrument With poly mode disabled an Audio Instru ment can play only asingle audio event no matter how many audio events are assigned to the Audio Instrument Using the Stereo Column Stereo Audio Channels The Stereo column determines whether an Audio Instrument hardware input or output or bus is stereo or mono To make an audio channel stereo place a check mark in the column for that channel In order to play back stereo audio events they must be assigned to a stereo Audio Instrument Whether a channel is mono or stereo also determines how it can be used as an input source in a console chan nel or as arecord source in the Record M onitor For instance stereo Audio Instruments can only use stereo plug ins and should be assigned to stereo outputs also if you re routing stereo audio chan nels to a bus make sure it is a stereo bus and if you re attempting to record with Link Pairs checked you ll
172. O 0 0 0 Sub Mix E rO 0 0 0 Return 11 H2H4 ho Return 2 zk 0 0 0 Return 3 rO 0 0 0 Figure 12 10 Multiple Inserts Assigned to an Input Headphone Differences If you select Monitor you will hear those Audio Instruments assigned to Outputs 1 amp 2 in the Audio Instru ments Window You will not hear any other Audio Instruments Audio Instruments are discussed in Chapter 15 DAE Audio Instruments If you select Cue you will hear those Audio Instruments assigned to Out puts 3 amp 4 in the Audio Instruments Window You will not hear any other Audio Instruments NOTE The 882 Studio is only supported in External Mix M ode Consult the 882 Studio manual for information regarding Internal and External Mix modes 104 Opcode Systems Inc CHAPTER 12 DAE Hardware Setup Co M SET A SESSION SAMPLE RATE AND SIZE Next you need to set a session sample rate The session sample rate is the sample rate Vision uses to record and play audio The term sample rate refers to the number of audio samples that comprise 1 second worth of audio Higher session sample rates produce better audio fidelity but use more disk space because there are more sample points per second You can save disk space by using a low sample rate but this degrades the audio fidelity Hardware Sample Rate Vs Session Sample Rate It s important to recognize that there is a difference between the hardware sample rate
173. ON The sample rate of an audio file is the number of samples that make up 1 second worth of audio Higher sample rates pro duce better audio quality but use more disk space because there are more sample points per second Sample Size refers to the number of bits used to repre sent the dynamic range In most musical uses this is 16 bits You can save disk Space by using alow sample rate or bit depth but this degrades the sound qual ity Some audio hardware requires a Specific sample rate and size Refer to your audio hardware documentation for details In Vision all audio events in the sequence must use the same sample rate This sample rate is called the session sample rate Vision amp Studio Vision Pro Audio Reference Manual 301 PART 6 Advanced Audio Techniques Hardware Sample Rate vs Session Sample Rate Before you can understand sample rate conversion you must be aware of the dif ferences between the hardware sample rate and the session sample rate Specifically Hardware Sample Rate M ost pro fessional hardware will play audio at one of only a few standard sample rates such as 44100 Hz CD quality or 48000 Hz See your hardware manual to learn which sample rates it supports You can see what rate your hardware is set to by looking in Vision s Audio gt H ardware Setup dialog box e Session Sample Rate Vision requires that all of your audio files have the same sample rate whic
174. P IUGA N S crnina a 47 A SSIONINO E O arran a a 53 AAEE E EA A er TE A EEA EE AEE A A eae ener rarer 55 AUO SINGS soea T a a tat het adet 56 CUO AG CED Serednica AT 60 CONOIS OULOUUS ea en A 60 Glearmg SOMSOICS moeirisresi 62 Opcode Systems Inc Table of Contents CHAPTER 8 CHAPTER 9 CHAPTER 10 CHAPTER 11 Acadia Plug In Edit Window 63 PIUG HE CIC WINGOW nsiru a 63 Saving and Recalling Plug In Programs and Banks sses 65 Acadia EQ Window 69 Fanno EQ SEWN S sanaaa a a 69 EO Oi Cli T T 71 Saving and Recalling EQ Settings cescssesssseescseesssressseeesseees 72 Acadia Bussing Routing amp Bouncing to Disk 75 Using Busses and SENS ss ssssssssrsrrsrrsrrrsrrnsrrsnrrnnrrnsrrsnrrnrrrsnrnsnns 75 Routing to Shared Plug Ins Creating Effects Sends 75 Creating a SUD MAX sumorna dvstnesusnarmvensaninetes 76 Signal Routing and M onitoring eeccescesesssseessseeeseseeesesseessseeeesseees 78 Virale ons ol S a aN 78 Recording from Audio Instruments Busses and Outputs 79 Acadia Optimizing for Digital Audio 83 Number Of AUGIO TACKS onina 83 The Performance Window ccsessssessssesssssessssseessseesesstesssressenteess 83 The Butter SIZ Dlal0G nincastvcnnctnnnntinincinatimedainneanicu 87 Audio Preference csccccsccssssssssssssseesseecsreeseeesssesesseresseesseesseeesnaes 88 PART THREE Digidesign DAE 95 CHAPTER 12 DAE Hardware Setup 97
175. PSOE PE ashton acess a a Gedee cornea 97 System Requirements sssssesrssrrssrrsrrrssrrsrrrsrrrsrrnsrrnnrrrsrnsnrrnrrrsnrnsnna 97 Pro Tools 24 M ix and MIX PLUS ccccccscccssessssseesessseeesesseeessseeeeseeas 98 PrO MOONS 2 annA 98 Opcode Manual Template iii Table of Contents CHAPTER 13 CHAPTER 14 CHAPTER 15 Pro LOGS TiC MUB US amp PCI riusset 98 BESSIOMN 0 PrO CCE sis iat sisncuana viel a a 98 Audiomedia UNE sassanidien Anca tenuate 99 Set Vision to DAE M Od Cisitcaviviciuiiieciiienioiieum aanlieaaas 99 Allocating RAM to the Digital Audio RAM Buffer secere 99 RIWI E SCUD aea caaeetenmenmeneasmansiagunysiacendnes 101 Set a Session Sample Rate and SIZE ss ssssssrssrrserrrsrrrerrsrrrrsrrseen 105 CHECKING DISK AilO CAL ON nanrnianonoro nana Gedabiandludian 106 DAE Record Monitor Window 109 Cnapter Organiza Minema e E A E 109 Opening the Record M onitor WiINdOW ssssssssesrrrerrrserrrerrrserrrerrrens 109 Anatomy of the Record M onitor WINOW ccccscessseessstesseeeess 110 Hardware Specific Variations nesicaninnisnia a 112 DAE Recording Audio 115 Power User OvervieW ccccccccsscesssesssresseressssessseeesseeessaeesseeeseeesas 115 Recording Step by St p sssssssrssrrsrrserrrsrrsnrrsrrsnrrsnrrsrrrsrrnsrrnsrrnsna 116 Designate a Record File ccsessesssesssessseessseeesseeesseessstessees 116 Set Record LevelS ssssssssssrssrrssrssrsrsernsrnsrnnrnsrnsrensrnsrresrnsrens 1
176. Plug In Selectors Figure 16 3 Console Window with 2 Plug Ins shown for each Console Channel Vision amp Studio Vision Pro Audio Reference Manual 149 PART 4 Digidesign DAE Configuration amp Recording ASSIGNING TDM PLUG INS Use Studio Vision s consoles to assign TDM plug ins to specific Audio Instru ments To do so CQ Press and hold the mouse on the Plug in Selector pop up menu Studio Vision opens a pop up menu of your installed TDM plug ins mono mono mono mono mono mono mono G mono mono mono mono mono in stereo out mono mono in stereo out mono mono in stereo out mono mono in stereo out mono mono mono in stereo out mono mono in stereo out TimeaAdjuster mono Fusion VOCODE Sidechain mono 2 While still holding the mouse button move the cursor over the desired plug in to select it no plug in Dither pop up menu showing all of your installed TDM plug ins mone in stereo out mono mono in stereo out mono mone in stereo out mono mono in stereo out mono mono mono in stereo out mono mono in stereo out TimeAdjuster mono Fusion YOCODE Sidechain mono Release the mouse button Studio Vision assigns the selected TDM plug in to the Audio Instrument displayed in that console channel i cl eH cy aes eres e Sh
177. Preferences dialog discussed on page 423 Click Save Vision creates a new audio file or files for the shifted audio It creates one or more new audio events to play that audio replacing the original audio event s in your sequence NOTE If you never want to see this Save As dialog box again that is you always accept the default name and folder click the Bypass this dialog next tme option in the Save As dialog box Should you wish to make the Save As dialog reappear choose DSP gt DSP Prefer ences select Formant Shift from its Apply to pop up menu then uncheck the Bypass Save As Dialog option Opcode Systems Inc CHAPTER 35 DSP Menu Pitch Shift Formant Shift Time Scale and Adjust Audio Tempo Changing a Singer s Gender Perhaps this title is misleading Obvi ously Vision can t change a singer s gender but it can change the listener s perception of the singer s gender Y ou probably noticed that in Figure 37 3 the right half of the Formant Shift dialog box contains some disabled pitch shift numericals To activate the pitch shift numericals check the Pitch checkbox The Pitch numericals enable you to modify an audio event s pitch as well as its formants This becomes particularly intriguing when you realize that in a single action you can shift both pitch and formants but by different amounts and in the same or different directions Using this technique you can cha
178. Re analyze Audio 406 Use Selected Notes 403 Audio to M DI command 396 uses 396 using 397 auditioning 245 assembling anew take 251 by muting events 248 by muting events List window 250 comparing audio events 250 individual audio events 247 with M ute buttons 246 with Solo buttons 246 with the Audio Instruments window 247 Auto Record M onitor Acadia 23 DAE 111 Auto Compact 23 243 Record M onitor DAE 111 Automatic Waveform Height 182 353 automation Audio Pan 276 Audio Volume 276 audio volume in the Strip Chart 270 audio volume pan in Faders window 270 Automation submenu 276 DAE TDM 263 EQ Band Parameter submenu 278 EQ Enable 278 inserting events in the Strip Chart 267 268 menus 265 MIDI submenu 282 M ute 277 Phase Invert 278 Plug In Bypass 277 plug in parameter names 281 Plug in Parameter submenu 279 plug in parameter values 281 plug in recording tip 264 recording 264 removing plug ins 49 275 Send Levels 277 Solo 277 types of events 275 viewing events in Strip Chart 266 Automation submenu 276 Auto naming DSP Preferences 428 auto separating with Slice Audio 309 Available Record M onitor DAE 111 Available Recording Time 23 B plug in bypass 51 Band Pass in EQ dialog box DSP menu 367 bank templates plug ins 65 Bars Beats Time Scale dialog box 387 bit depth see Sample Size Bits column in File Management window 286 Bouncing see M ixing Buffer Size 351 Acadia 87 DAE 100 wit
179. Select the type of audio file you wish to create name it and select a volume or folder in which to store it Click Save Vision creates a new audio file and places a new audio event in your sequence This new audio event sounds exactly like your original audio event but uses the harmonizing notes 1 Copy the newly created audio event back into the original track and Inthe Graphic Window s Ruler drag to select the time range you want to convert This selects all MIDI data notes and controllers plus all Audio data in the range 412 Opcode Systems Inc CHAPTER 36 DSP Menu Audio to MIDI and MIDI to Audio assign it to a different Audio 2 In the MIDI track that Vision Instrument generates click the note you wish to lengthen Audio 1 PE ey Pa ar nnn eng ee Audio 2 el 2 i Fe AREY os ay When you play the sequence both audio events play creating a perfectly harmo nized performance Changing Audio Timing Choose Do gt Scale Time You can lengthen or shorten MIDI notes Vision opens the Scale Time dialog box then apply the changes to the audio data creating an entirely different rhyth Scale Time mic feel to your audio performance To do Hoe ee ee SO New 1 1 26 1 1 4499 0 0 203 Display _Bars Beats Scale Factor 1 000 Select an audio event and convert it J Insert Tempos to ma
180. Session Sample Rate pop up Set the session sample rate to the same value as the hardware sample rate If necessary convert the target sample size from the Sample Size pop up This 24 bit option should only be selected for Pro Tools 24 users all other users should always use 16 bits Click Convert All The files will be converted according to the Sample Rate Size and Deinterleave settings in the file list For more informa tion on the Conversion Overview dialog box see The Conversion Overview Dialog Box pg 304 You will be asked to confirm the conversion of each audio file You will see a dialog box for each file you wish to deinterleave or who s sample rate or sample size you wish to convert Vision amp Studio Vision Pro Audio Reference Manual 303 PART 6 Advanced Audio Techniques Click the Convert or Deinterleave buttons in each file s dialog box Vision opens a standard Save As dialog box 7 Save the converted file If you are converting a sample rate the new sample rate will automatically be added as a suffix If you are converting a sample size the new sample size is used as a suffix If you are deinterleaving a file you will need to save two new files Left and Right The L and R will automatically be added as a suffix to the new file names After conversion Vision will ask you if you want to delete the old file 9 If you choose to Delete the
181. Simultaneously pg 203 Viewing Overlapped Events in the Same Track If an audio event is partially hidden behind another audio event you can view it by clicking it 2 25 Se 5S q Figure 19 9 Viewing the Overlapped Event Playing Multiple Audio Events Simultaneously If you want Vision to play multiple simul taneous audio events you must e Assign each overlapping audio event to a different Audio Instrument e Usethe Audio Instruments Window to assign a a different voice to each Audio Instrument Vision amp Studio Vision Pro Audio Reference Manual 203 PART 5 Basic Audio Editing amp Playback 204 Opcode Systems Inc CHAPTER 20 Import Export Cornucopia Vision offers a plethora of import export mixing and saving options for both MIDI and audio This chapter begins with an overview of these options and concludes with detailed discussions about how to import or export numerous types of MIDI and audio files WHO SHOULD READ THIS CHAPTER This chapter applies to all of the audio systems supported by Vision File Menu Import Export Commands Import export commands are all con tained in acentral location under the File menu Mew Open Close Window Close All Save a Copy As Save as Setup Revert Export as MIDI File Export to Clipboard Export as QuickTime Movie Import Audio H Import Audio Using QuickTime Export Audio Mix Expo
182. Solo button and suddenly realize that nothing is playing back B eee ji Sequence 4 Track 1 a ca LinnDrum Internal Wait Not Click Global Solo Indicator to find soloed Instruments and channels E E Linkit Click the Global Solo Indicator button to automatically open the window with the soloed Instrument or audio channel For information about the differences between muting or soloing tracks and muting or soloing instruments please see your MIDI Reference M anual Soloing Busses Soloing an audio bus automatically results in all pre sends routed to that bus being heard post sends are muted Previously it was required that each of the routed console channels be soloed as well 40 Opcode Systems Inc CHAPTER 6 Acadia Audio Instruments amp Routings Window Stereo The Stereo column determines whether an Audio Instrument hardware input or output or bus is stereo or mono To make an audio channel stereo place a check mark in the column for that channel In order to play back stereo audio events they must be assigned to a stereo Audio Instrument Audio Instruments amp Routings oA Snd Mngr k Snd Mngr Snd Mngr Snd Mngr Snd Mngr Snd Mngr Place a checkmark in the Stereo column to make an Audio Instrument stereo Figure 6 6 Stereo Audio Instrument Whether a channel is mono or stereo also determines how it can be used as an input source in a consol
183. SuperClock signal The sync box reads the SM PTE source and adjusts the SuperClock signal as nec essary to compensate for any fluctuations in the speed of the time code As a result the pitch and speed of the digital audio playback is adjusted accordingly and with minimal distortion to stay in sync with the SM PTE source F or specifics on using hardware sync with your Digidesign hardware consult the appropriate manufacturer s manuals NOTE You may wish to contact O pcode for product information on the Studio 64 XTC Lock Audio to Tape Lock Audio to Tape uses DAE s on the fly sample rate conversion capability in software to match the audio playback to the received SM PTE Unfortunately the realtime sample rate conversion isn t per fect because of latencies in the M acintosh hardware itself and some amount of dis tortion is introduced in the process Also Vision amp Studio Vision Pro Audio Reference Manual 327 PART 6 Advanced Audio Techniques the pitch of the audio varies with the speed of the tape and if your audio has long sustained tones this pitch variation is sometimes noticeable Of course the pitch of MIDI data never varies PRO TOOLS amp SESSION 8 Because Pro Tools and Session 8 hardware contains Superclock support and doesn t support on the fly sample rate conversion you cannot use this method to lock audio to tape The Lock Audio to Tape command is disabled and SMP
184. System Stereo Interleaved Files The Acadia audio system now supports importing and playing stereo interleaved files Once a stereo Audio Instrument encounters an interleaved file it will play itas astereo audio event If however that same Audio Instrument encounters a stereo linked event later in the same sequence only one channel of the linked event will be played The important thing to remember is that stereo events assigned to the same Audio Instrument Should be of the same type either stereo interleaved or stereo linked Output Assignments Use the Output column to assign an output for Audio Instruments hardware inputs and busses This lets you easily monitor any of these audio channels with out using the Console Window or Record M onitor To assign an output for an audio channel CQ Click in the Output column for the desired audio channel O audio Instruments amp Routin F Instruments Audia 1 Audio 2 ia fel Audio 3 1 Audio 4 Sind Mngr k 5nd Mngr Snd Mngr Snd Mngr A pop up menu of Outputs appears O HSS audio Instruments amp Routin Bus H m Sound Manager L Sound Manager F Instruments Audio 1 dla Audio 2 ie Highlight the appropriate output type Bus single Output or Output Pair then select from the submenu the desired destination no output Bus H Output A Sound Manager L Output Fair PECURE EN ae The items appearing in the Ou
185. T 4 Digidesign DAE Configuration amp Recording HARDWARE SPECIFIC VARIATIONS The following sections discuss the Record M onitor Window for each type of Digide sign hardware supported by Vision Pro Tools IIl 24 O m Record Monitor 5 Available Instrument i Input 1 DANADNNANDANNNN E D Guitar 00 06 26 Audio 1 Input 2 DENppnpTnnnnnng g O Bass 00 06 26 Audio 2 Input 3 DRNNNNNRNNANNNN E DO vocal 1 00 06 26 Audio 3 Input 4 DANDNNNNANANANN A O vocal 2 00 06 26 Audio 4 inputS ananonnonnnnnd a O Crone Audio 5 Input 6 DDDDDNNANNDNNNN A O Crone Audio 6 Input 7 SOMONE A O Cnone Audio 7 gt Input 8 DANANNANNANNNNN A O Crone Audio 8 Thru On C Auto Compact O Link Pairs Figure 13 1 Typical Record Monitor Window for Pro Tools Ill The Record M onitor Window used by a basic Pro Tools III and Pro Tools 24 sys tems is similar to the window discussed in Anatomy of the Record M onitor Window pg 110 but has the following opera tional difference e You must enable an input before you can monitor its record level You can choose from a pop up menu of hard ware Inputs Audio Instruments Sample Cell TDM if installed and Busses Studio Vision when used with Pro Tools II and 24 will not display input levels for any disabled audio inputs Pro Tools and Pro Tools Il Record Monitor 45 26 10 2 Clip Reco
186. TE synchronization is performed as described in Acadia Syncing Audio to SMPTE pg 326 To enable Lock Audio to Tape 1 Choose Options gt Sync Options 2 Set the Receive Sync mode to MIDI Time Code and set the Receive Sync source to the desired device usually your MIDI interface For details on using the Sync Options dialog see you MIDI Reference Manual 3 If your hardware is supported click the option for Lock Audio to Tape so it becomes checked 4 Click the OK button to close the Sync Options dialog Initiate playback of your SMPTE source then click the Play button in Vision s Control Bar Vision constantly monitors the speed of your tape and adjusts the sample rate to match the speed of the tape This results in on the fly conversion On the fly con version is discussed in more detail in About Sample Rate Conversion pg 301 Using this method will lock the digital audio tightly with the tape but because on the fly conversion is being applied to the audio signal during both recording and playback the signal is distorted twice In this case you re trading audio purity for tight sync If tight sync is a must try running afew experiments on your own you may find the conversion distortion hardly noticeable NOTE Ifusinga digital multitrack like the Alesis ADAT you might want to try dis abling Lock Audio to Tape M any of the digital multitracks offer very stable playback and theref
187. TIBLE The Digidesign Audio E ngine does not work with some sound card M acintosh model combinations F or details please see the compatibility chart included with your Digidesign documentation When you install Vision DAE is automati cally installed in your System Folder Whenever you launch Vision the DAE application will automatically launch Whenever you quit Vision DAE will also quit unless it s being used by some other application Using DAE is automatic and transparent But it is important to realize that it is there running behind the scenes to control the digital audio signals SYSTEM REQUIREMENTS To run Vision with your Digidesign hard ware you must meet the following additional system requirements e A compatible M acintosh see the DAE compatibility chart from Digidesign Consult your QuickStart guide for RAM and System requirements e DAE compatible digital audio hard ware such as Pro Tools Pro Tools Project Session 8 Sound Tools II or Audiomedia II II e A hard disk that s fast enough to record and play back digital audio and is reasonably defragmented defragmenting software Is encouraged For more than four tracks with Pro Tools amp II you ll also need the A ROSE extension provided Vision amp Studio Vision Pro Audio Reference Manual 97 PART 4 Digidesign DAE Configuration amp Recording C O MM PRO TOOLS 24 MIX AND MIX PLUS Studio Vi
188. The checkmarked audio files below are either stereo interleaved or not at the Session Sample Rate or both Click Convert or Convert All to perform the appropriate conversions Session Sample Rate 44100 Sample Size Slip Right Snare Power zaps Figure 32 10 Typical Conversion Overview Dialog Use this dialog box to convert audio files to acommon session sample rate or sample size and to convert interleaved stereo files to DAE compatible linked mono files Generally you will not need this command or dialog box unless you are converting Studio Vision 1 4 or earlier files for use with this version of Vision This dialog box appears whenever you e Open a Vision file that uses audio files with different sample rates as could be created in Studio Vision 1 4 and earlier e Import an audio file that is not using the current session sample rate e Open a Vision file that uses inter leaved stereo audio files and DAE e Attempt to import an interleaved stereo audio file using DAE e Choose Audio gt Conversion Overview The Conversion Overview dialog box is discussed in detail in Chapter 26 Sample Rate Conversion and Deinterleaving BUFFER SIZE Choose this command to open the Buffer Size dialog box The appearance of the dialog box changes depending on which audio system you use Use the Buffer Size dialog box to tell Vision how much memory to set aside for use as a digital au
189. This is discussed in Chapter 27 Strip Silence and Slice Audio 3 Select the individual audio events created as a result of the Strip Silence operation If you wish you can use the List Window to assign a unique name to each of the newly created audio events 4 Choose File gt Export Audio Events to create a separate audio file for each drum loop Your hard disk now contains a separate digital audio file for each individual drum loop captured from your audio CD Y ou can use these files in numerous ways For example e You can use a sample editing pro gram to send them to an external Sampler e You can import them into Vision and sequence them as Is e Ifyou own Studio Vision Pro you can use its DSP menu to time stretch or pitch shift the samples to fit your sequence s tempo or pitch Export Audio Events vs Export Audio Mix Although Vision s Export Audio E vents command and Export Audio Mix com mand may seem similar at first they are actually quite different Specifically e Export Audio Mix mixes all your selected audio events together and creates a single new audio file Its main purpose is to create a final audio mix of asong or part of a song for distribution Export Audio Events creates anew separate audio file for each selected audio event Its main uses are to 1 create separate files for samplers or 2 create short musical snippets or sound effects for web pag
190. Trim Cursor 2 Drag outward from the event to 2 Drag the mouse to the right lengthen it Vision trims off the beginning of the audio event z 5 7 y ee ee ee cn E E leet AN tag Aei a ETE Event ending lengthened after dragging it to the right Event beginning trimmed after dragging to the right 196 Opcode Systems Inc CHAPTER 18 Working with Audio Events CUTTING COPYING AND PASTING AUDIO EVENTS You can cut copy and paste audio events or portions of events in much the same way as MIDI data For example the easiest way to duplicate an audio event is to Option drag it to a dif ferent time or a different Audio nstrument this creates an exact dupli cate of the audio event while leaving the Original event untouched For more information about the various copy and paste procedures see your MIDI Reference M anual Vision amp Studio Vision Pro Audio Reference Manual 197 PART 5 Basic Audio Editing amp Playback 198 Opcode Systems Inc CHAPTER 19 Basic Digital Audio Playback This chapter discusses how to play back digital audio from within Vision Generally when you click Vision s play button all MIDI Instruments and Audio Instruments play back in unison There are however a couple of points to con sider when you play digital audio WHAT TO READ IN THIS CHAPTER If Vision is using dynamic voice allocation read Audio Playback with Dynamic All
191. Vision e Capturing a Mix Check the Audio gt Mix Audio on Capture option and use the Edit gt Capture commands to mix together all audio and M IDI events into a single track or sequence e Mixing using TDM bussing for Pro Tools owners only By recording from a bus you can mix all your audio and print TDM effects in real time to a single audio track or pair For details see Recording Audio from Other Pointsin the TDM Chain pg 127 itself can play It is meant as an interim step in creating a sequence because it replaces your sequence s Original audio events with the newly mixed event Export Audio Mix is capable of cre ating file formats that Vision cannot play directly It is meant to create a final audio mix for distribution via web CD or any other media It does not replace any existing files in your current sequence For details see Chapter 20 I mport E xport Cornucopia e Exporting individual audio events or mixes Use any of the options dis cussed in Chapter 20 Import Export Cornucopia Vision amp Studio Vision Pro Audio Reference Manual 315 PART 6 Advanced Audio Techniques WHO SHOULD READ THIS CHAPTER This chapter applies to all of the audio systems supported by Vision DIRECT AUDIO MIXING Direct audio mixing is the process of mixing together digital audio from any where within a sequence without actually playing it Vision examines the selected audio files
192. Vision Pro Audio Reference Manual 131 PART 4 Digidesign DAE Configuration amp Recording Your Audio Instruments Window may look different depending on which DAE hardware you re using For example e You may have fewer or more out puts depending on your digital audio interface e Your Voice column may display the word any rather than numbers e You may havea Poly column in place of the Stereo column e You may have more Instruments if you have chosen more All of these differences are explained in the course of this chapter The Audio Instruments Window for TDM users now displays Audio Instruments hardware inputs hardware outputs bus ses and even SampleCell channels Any of these items can be independently muted soloed renamed and defined as stereo In addition there are now col umns for monitoring the number of assigned sends and plug ins for each audio channel Each of the sections in the Audio Instru ments amp Routings Window can be closed or opened by clicking the appropriate open close triangle see Figure 15 2 Audio 16 15 gt Outputs k Output 1 2 0 0 Ra Aue Audio 13 P Audio 14 11 Output 1 2 0 Audio 15 13 Output 1 2 0 0 Audio 16 15 Output 1 2 0 0 D Inputs S D Outputs we O no output no output no output no output no output no output Figure 15 2 Inputs Outputs and Busses pop ups SETTING THE NUMBER OF AUDIO INSTRUMENTS NOTE This disc
193. Vision creates asingle M IDI note that begins with the first attack where the spurious note would normally be created and ends where the real note ends Figure 39 5 MIDI conversion w spurious note removed 402 Opcode Systems Inc CHAPTER 36 DSP Menu Audio to MIDI and MIDI to Audio Spurious note is a different pitch Using the Use Selected Notes Options than the real note If you check the Use selected notes eae piteh option Vision will not extract M IDI note values from the audio data instead Vision uses existing M IDI notes and it creates other types of M IDI data which it applies to those existing notes Audio i Instead of generating notes Figure 39 6 MIDI conversion w spurious Use Selected Notes note of different pitch Generate Mew velocities Ifthe spurious note is a different pitch than the second real note and you select a Note length exceeds value greater than the length of the spuri ous note then Vision ignores the If you check the Use selected notes option Vision produces a second option called Generate new velocities spurious note and creates a single e Ifyou check this option Vision ana M IDI note that begins and ends atthe lyzes the dynamics of the audio and times dictated by the real note replace the velocities of your existing M IDI notes with those it derives from the audio data e Ifyou un check this option Vision uses the
194. When you drag the Speaker cursor well in front of the current playback point greater than 2 3 seconds ahead the audio plays at an accelerated speed up toa maximum of 1 5 times the normal playback speed 1i 3 21 23 51 53 1 3 51 D 3 61 Ge Fe Primordial Audio l When you drag the Speaker cursor just barely ahead of the current playback point less than 2 3 seconds ahead the audio plays at a slower speed This lets you audibly find a precise edit point Vetoes Bed 23 Se 53 1 49S 5 1 5 3 61 6 amp 5 Pel Primordial Audio When you drag the Speaker cursor around 2 3 seconds ahead of the current playback point the audio plays at its t normal playback speed CURRENT PLAYBACK POINT Figure 31 1 Scrubbing Speeds NOTE Vision allows you to scrub only one audio event at a time In order to skip to another audio event you must release the mouse button then Command drag on the event you wish to hear Scrubbing and Audio Outputs You can scrub both mono and stereo events For Pro Tools systems that are not equipped with the TDM bus the playback of scrubbed audio events always appears at Outputs 1 amp 2 of your DAE audio hard ware no matter what output its Audio Instrument is assigned to For example if you re scrubbing an audio event that s assigned to an Audio Instru ment that uses Output 4 the scrubbed audio will be sent to Outputs 1 amp 2 When
195. Window CG Open a List Window for the desired track 2 Use the Edit In Point numerical to set the start time of the controller event Enter controller event time Alternately you could click the selector dot of an existing event if you want the controller to be entered at the same start point 3 Press and hold the mouse on the Insert Event pop up menu icon Vision opens a pop up menu of event types 0O m Sequence B Track 1 S ian so r os ee EBB rute Solo 2d 456 1274 3d 3 1274 Od 155 1274 3 296 JD 800 1 4 40 JD 800 1 G 3 EQ Band Parameter 4 168 JD 800 1 B 3 3 296 JD 800 1 gt gt Automation rE gt gt System Exclusive Sequence Event 4 From the pop up menu select either Audio Volume or Audio Pan from the Automation submenu Sequence B Track 1 To T z 2 budio Yolume te Solo Aaa Een H 606d Hute Solo H 6060 b Fi Send 1 Level a iN Send 2 Level GEZ Automation H Send 3 Level EQ Band Parameter loo 4 Level System Exclusive Plugin 1 Bypass Sequence Ewent a Plugin 2 Bypass Plugin 4 Bypass Plugin 4 Bypass Phase Correct Et Enable If this track contains multiple Instruments and it s the first controller event you ve entered into it you ll see a Set Instru ment dialog box asking you to assign it to an Instrument If this is the case select an Instrument from the dialog
196. a at the top of the window to select all events in a selected time range Figure 18 26 Select All Information in a Vertical Path Simultaneously Selecting Events in Multiple Tracks You can use many of the previously dis cussed techniques to select audio events in the Tracks Window The Tracks Window is especially useful when you wish to select events in multiple tracks To do So CG Inthe Tracks Window select the Arrow cursor equence aA Dist y Phrases 2 Inthe Track Overview Shift click the desired audio events or phrases to select them Shift click to select multiple audio events Figure 18 27 Shift Click Multiple Audio Events Vision amp Studio Vision Pro Audio Reference Manual 189 PART 5 Basic Audio Editing amp Playback As discussed previously if a track con tains multiple Instruments then the Track Overview area merges all Instru ments in a common time range together into a single phrase This is discussed in detail in Tracks Window Selection pg 185 You can use the Tracks Window and the beam tool to select all events of all types in all tracks in a specified time range and you can use the M arquee tool to select ranges of multiple events in mul tiple tracks CHANGING AUDIO EVENT START TIMES You can move audio events to new start times using the List Window numerical or by dragging events in the Graphic or Tracks Windows To move audio events in
197. a sound but it cannot completely eliminate it A pop is caused by a sharp transition In a waveform Imagine a waveform like this If you edit it at its peak you get this Figure 18 8 Edit at a peak That is a very sharp transition and it will produce a very loud pop It you edit at the zero crossing you get this Figure 18 9 Edit at a zero crossing That is less sharp but the waveform still rises up suddenly That will still produce an audible pop although it will be softer than the one in Figure 18 8 So even though Vision automatically uses zero crossings you may still hear a pop or click at the beginning of an audio event The only failproof way to get rid of such a pop is to do a fade in For details see Cre ating Fadelns and FadeOuts pg 370 NOTE Usea sample editing program such as Peak or Sound Designer if you want to edit actual wave data If you own Peak or Sound Designer II you can open it directly from Vision by choosing Audio gt E dit E vent SoundFile For more information see Edit Event Soundfile pg 348 Vision amp Studio Vision Pro Audio Reference Manual 181 PART 5 Basic Audio Editing amp Playback Waveform Display Options Vision gives you three display choices for waveforms These choices are available in the Audio gt Waveform Display Submenu b Off Fast High Resolution Waveform Display Figure 18 10 Waveform Display Options The three wav
198. a Graphic Window CG Move the cursor into the upper select region in the left side of the event The cursor turns into a Horizontal Move cursor Horizontal Move Cursor Figure 18 28 Horizontal Move Cursor Positioned over Audio Event 2 Drag the event horizontally left or right to a new start time J T bal ws Figure 18 29 Event After Dragging Earlier in Time audio event dragged to an earlier start time As you drag the new start time will be displayed in the Cursor Display field in the upper section of the Graphic Window Cursor Display Field 3 Play back the track to hear the result of your edit You can use a similar technique in the Tracks Window Simply drag an event with the Arrow cursor to change its start time NOTE As with MIDI data you can con strain cursor movement to specific metric amounts by quantizing the cursor move ments For example if you wanted to move an audio event exactly three measures ear lier you would quantize the cursor movement to whole notes then drag the audio event three measures to the left Y ou can also use the Nudge command to move events 190 Opcode Systems Inc CHAPTER 18 Working with Audio Events To change the start time of audio events in the List Window click the event s start time bar beat unit or SMPTE and use the numerical to scroll the values up or down or type in the desired location
199. a a eee ee eee e MonoPoly Sweep L 1 0 46 MB 0 00 MB Sd2t 44100 Mono 16 MonoPoly Sweep R 1 0 46 MB 0 00 ME Sd2f 44100 Mono 16 Figure 25 9 File Management window before using Copy to Folder fl File Management Figure 25 10 File Management window after using Copy to Folder The number of files has doubled because the window Includes the original files and the newly copied files In most cases this is undesirable from an organizational standpoint Vision amp Studio Vision Pro Audio Reference Manual 293 PART 6 Advanced Audio Techniques You can easily clean up the File M an agement window by choosing Select Unused followed by Remove from List both in the File M anagement window menu Choose Select Unused and any audio files which are not referenced by the current sequence file are selected H File Management Events Size Unused Type SR Hz Chans Bits Figure 25 11 After choosing Select Unused Choose Remove from List and those files are removed from the File M anagement window ee File Management SSS i Everts Size Unused Type Sk the Chane Bits 303 loop 1 140bpm 1 0 53 MB 0 00 NB AIFF 44100 Mono udio 1 4 144906 376MB Mooy 44100 Stereo 16 e MonoPoly Sweep L 1 0 46 MB 00GHE Sd 44100 Mono 18 MonePoly Sweep R 1 0 46 ME
200. a audio system 2 From the Device pop up select the appropriate ASIO driver for your audio hardware Digidesign Directlo Korg 121210 Device v SoundManager Sample Rate 44100 Clock Source Open Control Panel If you re using your PowerMac s built in sound capabilities choose the Sound Manager driver If using compatible Digidesign hardware choose Digidesign DirectliO If your ASIO driver is not listed in the Device pop up make sure the driver is in the ASIO Drivers folder which must reside in the same folder as the Vision application About the Hardware Setup Dialog Box As shown in Figure 3 3 the Hardware Setup dialog box contains numerous ele ments for configuring your audio hardware Using this dialog you can choose your ASIO driver set the hard ware sample rate and specify a digital clock source In addition you can click the Open Control Panel button to config ure additional hardware specific settings Sample Rate From this pop up menu choose the desired hardware sample rate which determines the rate at which audio is recorded and played Session sample rates of up to 96 KHz are Supported for the Acadia audio system and DAE Check the manufacturer s documentation for your audio hardware to see if it Supports this rate NOTE Thesample rate in the Hardware Setup dialog can also be specified in the Sample Rate Size dialog as discussed on pag
201. a mono TDM plug in it pro cesses the mono input signal and outputs a mono signal If you select a mono in stereo out TDM plug in it processes the mono Input signal and outputs a stereo signal This results in three important points e n order to hear the stereo signal you must send that signal to an output pair e The digital audio is now a stereo sig nal yet Studio Vision continues to use only one voice the extra voice Is provided by your TDM plug in using resources from the DSP Farm e Since the plug in s output is stereo any plug in placed after it in the chain can only be a stereo TDM plug in A mono in stereo out plug in can only be followed by a stereo plug in Shart Delay na plug in F ine plug in no plug in Dither stereo Dynamics steren Compressor steren Limiter stereo Expander Gate sterea e ews 152 Opcode Systems Inc CHAPTER 16 TDM Bussing Routing amp Plug Ins PLUG IN EDIT WINDOW Opening the Plug In Edit Window Y ou can now have multiple Plug In Edit Windows open at the same time Clicking a plug in edit button for each console channel opens a new distinct Plug In Edit Window en eer Pr r 4 E ee a ze a a a a en ow mpi a Ai E a Pa ie Beaty Short Delay If an existing Plug in Edit Window is open you can Option click a plug in number from the Console Wi
202. a mono bus with Link Pairs enabled to a stereo Audio Instrument the mono signal is recorded to the left channel with the right channel being silent CLIPPING LEDS When using the Acadia audio system console channels assigned to Audio Instruments hardware inputs and busses never clip This is because Acadia uses floating point in its computations and with floating point there is practically no limit to the dynamic range for these audio signals Boost them as much as you want either with plug ins EQ or with the Maximum Fader Position setting and the console channel won t clip with the red Clipping LED However the assigned hardware outputs for your audio channels can clip if their level reaches 0 dB It is therefore very important to always assign your hardware outputs to console channels so you can monitor their Clipping LEDs If one of these red LEDs does light simply turn down the volume fader for that output s console channel CONSOLE OUTPUTS Audio console channels have an Output Selector pop up specifying the channel s output assignment This pop up is duplicated in the Output column of the Audio Instruments amp Rout ings Window Changing an audio channel s output assignment in either window updates it in the other For information on using the Output column in the Audio Instruments amp Rout ings Window see Output Assignments pg 42 To assign an output to an audio channel in the Console Wi
203. a single QuickTime Sound Track The export process also applies the effects of any selected audio volume and pan events This means that all the nuances that you built into your sequence is captured when you export audio to a QuickTime movie The following elements all affect the exporting of audio data only Since these features are a subset of those included in the Audio Format dialog box they are described in depth in Anatomy of the Audio Format Dialog Box pg 228 Compression selector See Compression pg 229 Sample rate selector See Sample Rate pg 229 Sample size selector See Sample Size pg 230 Channels selector See Channels pg 231 Normalize selector See Normalize pg 232 O 8 Q Exporting an Audio Mix You can mix numerous audio events together and export them as a single audio file using many industry standard audio formats This is accomplished with the File gt E xport Audio Mix command If you select a region of time to export rather than Shift clicking individual audio events then the Export Audio Mix command incorporates the effect of any volume or pan events that fall within the selected time range This is an ideal way to create final mixed audio files for web distribution CD ROM games etc Vision amp Studio Vision Pro Audio Reference Manual 223 PART 5 Basic Audio Editing amp Playback To export an audio mix 3 Use the dialog box to define the f
204. about how to assign plug ins please see Assigning Plug Ins pg 47 Automation Events in the List Window For information about automation events in the List Window see your MIDI Refer ence M anual Automation Events in the Strip Chart For more information about automation events in the Strip Chart see your MIDI Reference M anual Tracks and Pulse Window Strip Charts In the Tracks and Pulse windows the Strip chart intelligently allows you to insert only appropriate automation events For example if you re inserting plug in parameter events at least one instrument in a selected track must have that plug in assigned to it in order to get a pencil 266 Opcode Systems Inc CHAPTER 24 Automation If your Console looks like this PI osea I usa Ea EE EJ opCHORUS jane plug in ci A Figure 24 8 Console setup and your Tracks window looks like this Be Ss secegeeree 4 5E I Rec Quant J you ll have the following results Selected Track Strip Chart contents aSr Sequence B D AE r Ect a a e in meeen aeee me HOT P IAP A Play Quant Rec Quant Play Shift a Plugin 1 Bypass 1 Bypass Ele 1 fais 50 08 O Figure 24 9 Plugin 1 Bypass on a MIDI track The pencil tool is not displayed when a M IDI track is selected and an audio auto mation parameter is disp
205. ack Tracks Window Audio events are displayed as waveforms in the Track Overview area of the Tracks Window Figure 18 2 shows a typical Tracks Window and the audio Information contained within it Ostinato BL eye ree fae 00 a Figure 18 2 Typical Tracks Window with Audio Tracks Labeled in the Tracks Window are Audio Instruments Audio Events If a track contains multiple Audio Instru ments the Track Overview area shows Audio Instruments with overlapping times as though they were asingle Audio Instrument For more information see Tracks Window Selection pg 185 List Window Audio events are displayed in a chrono logical list along with MIDI and text events in Vision s List Window Figure 18 3 shows atypical List Window and the audio information contained within it 128 237 1274 127 1274 3 294 TX316 1 Figure 18 3 The List Window Displaying Audio Events Labeled in the List Window are Audio Instruments Audio Events Audio Event Names Audio Event Velocities Audio Event M utes 0000 178 Opcode Systems Inc CHAPTER 18 Working with Audio Events ee VIEWING AUDIO EVENTS AS WAVEFORMS In the Graphic Window and Tracks Win dow Vision displays each audio event as a waveform Slippery Mix 1 Figure 18 4 Waveform Audio Event Sound can be visually interpreted by plac ing its dataon agraph as a wavefo
206. ader Position as set in the Audio Preferences dialog box However displayed numeric values in the Faders window are still 0 127 These values are mapped to the appropri ate range of values for the selected parameter In the case of audio pan 0 cor responds to 100 00 left and 127 corresponds to 100 00 right For audio volume 0 corresponds to and 127 cor responds to the M aximum Fader Position If you wish to see the correct numeric values for these parameters use the Con soles rather than the Faders window 270 Opcode Systems Inc CHAPTER 24 Automation ee CHANGES IN THE WAY VISION HANDLES FADERS Removal of Fader Events In previous versions of Vision faders were a type of interface between you and your MIDI controller data A fader set up like this lt TTT Fader F1 CJD 800 1 volume 92 used to generate an event like this in the List Window Figure 24 17 The old way Faders still act as an interface but now they generate data directly Instead of cre ating a fader event assigned to another parameter such as a controller faders now create automation events A fader set up like this will now generate an event like this in the List Window Figure 24 18 The new way In short we ve eliminated the middle man by completely removing fader events Visual and Audible Effect In most cases the visual and audible effects of re
207. aer Sat i TO al Tempo 120 00 ae Fe eeu Fe Instrument Drums F 8N 16 Proteus 1 1 Protey Prot 3 If desired type a new track name 4 Select the desired record mode from the Record Mode pop up menu in the Control Bar Record modes are discussed in your MIDI Reference Manual F Oyverdub 3 Step Replace mT mi e Step Overdub Record enabled tracks can always record MIDI data but to record audio the Record Monitor Window must be open and one or more audio inputs must be record enabled If Vision is properly configured to record audio data then the Record Mode dis play contains a small digital audio icon Digital audio icon indicates that you will be recording audio events inthe Control Bar either set a Countoff or select Wait for Note Click the Record button in Vision s Control bar 7 If you chose Wait for Note either play a MIDI note click the Play button or press the Spacebar to start recording 120 Opcode Systems Inc CHAPTER 14 DAE Recording Audio Play or sing into your digital audio input device Vision will also record any MIDI you perform 9 Click the Stop button when you want to stop recording The audio you record is stored in the cur rent record file or files listed in the Record M onitor Window Remember if you want to record into another file you need to first designate it as the record file If you
208. aia Figure 32 16 Fast Waveform Display 354 Opcode Systems Inc CHAPTER 32 The Audio Menu The waveform display has a blockier appearance than in High Resolution mode discussed in the following section Vision creates asummary for all audio data and displays waveforms based on this summary The summary consists of the minimum and maximum of every group of 256 samples in the audio file truncated to 8 bits The summary Is stored as aresource with the audio file In Fast mode Vision displays a Summary of audio data rather than the actual data stored on your hard disk High Resolution Checking High Resolution allows Vision to display the actual waveforms which is desirable when you re editing and need to clearly see all peaks and valleys Figure 32 17 High Resolution Waveform Display You must be zoomed in a lot displaying less than 256 samples per pixel the reso lution of the audio Summary in order for the High Resolution option to display a waveform more detailed than the Fast mode waveform Since tempo is bar based the greater the tempo the more you ll be able to zoom in so tempo works in conjunction with the amount you re zoomed in to affect the High Resolution display When zoomed in far enough Vision reads the actual audio data on your hard disk If you re not zoomed in enough Vision reads the summary it created of the wave form and displays the waveform the same as It appears in
209. ained in the rectangular area shown in Figure 39 13 would also be pitch shifted This would result in an unnatural sounding audio performance If you select the End of note option Vision pitch shifts only the audio data enveloped by the duration of the MIDI note In this example the pitch of the first note would shift from A to C but the Vision amp Studio Vision Pro Audio Reference Manual 417 PART 7 Menus little breath that the singer takes before the second note contained in the rectan gular area shown in Figure 39 13 would not be pitch shifted providing the proper audio result Velocity changes work in a similar way For example if you increase the velocity of the first note then select the Next note option Vision boosts the volume of the first audio note ALL THE WAY to the beginning of the second MIDI note The little breath that the singer takes before the second note will become unnaturally loud If you select the End of note option Vision boosts only audio enveloped by the first note The little breath that the singer takes before the second note is unchanged providing a more natural sound 418 Opcode Systems Inc CHAPTER 37 DSP Menu Premiere Plug Ins and DSP Preferences The DSP menu contains numerous algo rithms designed to process audio completely within the digital domain This chapter deals with the Premiere Plug Ins and DSP Preferences options
210. ally 28 Opcode Systems Inc CHAPTER 5 Acadia Recording Audio Assign an Audio Instrument Vision initially assigns each record file to one of your Audio Instruments Audio Instruments are discussed in Chapter 6 Acadia Audio Instruments amp Routings Window For now you need only know that Vision uses Audio Instruments to determine audio output assignments For this reason it s convenient to select an Audio Instrument when you first record afile This lets you e Audition files after you record them e Monitor arecording as you make it if you use the Record M onitor Win dow s Thru option To assign a record file to a specific Audio Instrument CQ Press and hold the mouse in the Instruments column for the desired input line Vision opens a pop up menu of Audio Instruments Each instrument s mono stereo status is indicated in parenthesis Since this recording is from a mono source choose a mono audio instrument ord Monitor Instrument ip Record Fi oOo Audio 1 ronal Audio 2 stereo Jaudio 3 sterea A audio 4 mono Audio S Cron Audio Crone 4udio F ronal 2 While still holding the mouse button drag the cursor over the desired Audio Instrument to select it highlighting it Since we are not recording from a stereo record source Link Pairs is not checked make sure you specify a mono Audio Instrument 3 Re
211. ame for the equalized audio file By default Vision suggests a name based on the auto naming options you specify in the DSP Preferences dialog discussed on page 423 Click Save Vision creates a new audio file or files for the equalized audio It creates one or more new audio events to play that audio replacing the original audio event s in your sequence NOTE If you never want to see this Save As dialog box again that Is you always accept the default name and folder click the Bypass this dialog next ime option in the Save As dialog box Should you wish to make the Save As dialog reappear choose DSP gt DSP Prefer ences select EQ from its Apply to pop up menu then uncheck the Bypass Save As Dialog option The EQ Dialog Box As you can see in Figure 34 2 on page 366 there are four elements in the EQ dialog box These are Filter Type use this pop up menu to select the type of filtering you want to apply Filter Type A Low Pass filter removes high fre quencies from the audio frequencies higher than the value set in the Fre quency numerical A High Pass filter removes low fre quencies from the audio frequencies lower than the value set in the Fre quency numerical A Band Pass filter removes frequen cies both above and below the specified Frequency allowing only a narrow band of frequencies to in the processed sound Vision amp Studio Vision Pro Audio Re
212. ame of each audio file referenced by the active Vision file Viewing the file path To see the entire file path of an audio file hold down the Command Key and click on the file You can command click any where on the waveform or the file name Mon HonoPoly Sweep L wA Eass Sounds f Samples Music Thase 284 Opcode Systems Inc CHAPTER 25 File Management Events Column This column shows the number of audio events in the active Vision file that point to audio data within each audio file This includes events on the Clipboard and in the Undo buffer therefore if you have cut some audio or undone an edit opera tion you may want to clear it from this column by using the Clear Clip and Undo command as discussed in Clear Clip and Undo pg 299 Size Column This column shows in megabytes the total amount of data in the audio file which includes both used and unused data Unused Column This column shows in megabytes the amount of data in the audio file that is not referenced by any audio event in the active Vision file When you first record audio you ll see that the audio waveform is completely black which means all data in the file is being used If you edit your recording stripping silence cutting or clearing audio events portions of data in the audio file will no longer be used since the Vision file no longer contains audio events pointing to them NOTE Th
213. an Edit In Point Alternately you could click in the Track Overview area of the Tracks Window to automatically set an Edit In Point for the desired track Choose File gt Import Audio Using QuickTime An Open dialog box appears NOTE If your movie contains video you can see its poster frame in the Preview area by 1 checking the Show Preview option then 2 clicking the Create button 3 Locate the QuickTime file you wish to open select it and click Open If the file contains audio data Vision opens a Save As dialog box EA Desktop Y Macintosh HD Audiol HD Eject lt Macintosh HD New Save audio track s Cancel cyber mov 1 aiff Space needed 555K Available 174 8 MB AIFF 11025 Hz 16 bits Mono Format j j Figure 20 5 Save As Dialog Box for Imported Audio Navigate to the folder or volume in which you want to save the file and type the desired name NOTE If you re using digital audio hard ware that requires its own dedicated hard disk such as Pro Tools III IV you should import the audio onto the disk that s connected directly to your audio hardware not the disk that s connected to your computer s SCSI port If you don t you won t be able to play the imported audio Look at the Format information at the bottom of the dialog box This shows the type of audio file that the import operation will create In general you should crea
214. an be automated using the Audio Recording Preferences dialog See Chapter 21 Advanced Recording T ech niques for more details on recording multiple takes NOTE For all DAE users with hard disk volumes greater than 2GB Opcode recom mends using a separate file for each take rather than appending Vision amp Studio Vision Pro Audio Reference Manual 123 PART 4 Digidesign DAE Configuration amp Recording If you are recording successive takes into one file you can save disk space by using Undo after an unsatisfactory take when you do so Vision records over the previ ously recorded take Recording Audio While Monitoring Existing Audio Events This section discusses how to record new audio files while monitoring existing ones For example you might want to record a backup vocal while listening to your lead vocal Before you can fully understand this sec tion you need to have a thorough understanding of Audio Instruments Therefore Opcode recommends that you Skip this section for now and return to It AFTER you read Chapter 15 DAE Audio Instruments Dynamic Voice Allocation Method This section applies only to those who use Vision in dynamic voice allocation mode Dynamic voice allocation as discussed in Voice Allocation M odes pg 136 is the default mode used by e ProTools amp Il e Sound Tools l e Audiomedia ll III To record audio while monitoring existing audio events si
215. and calculates a new mixed file Direct audio mixing is performed by the DSP gt Mix command This command mixes together selected audio events and their velocity settings Also if you select volume and pan controllers assigned to Audio Instruments they will be inte grated into the new mixed audio file NOTE If you mix toa mono file Vision ignores all pan events The Mix command lets you mix the following e audio from multiple tracks e audio on multiple Instruments within tracks e entire audio events e sections of audio events e volume and pan There is virtually no limit to the amount of audio that you can mix or the number of tracks from which you can choose audio to mix You are limited only by the avail able space on your hard disk The Mix command mixes down stereo or mono audio events into the current track and they become a single mono or stereo audio event assigned to one Audio Instrument The Mix command can mix a mixture of events Each event can be a different format any combination of 8 16 and 24 bit as well as any combination of mono interleaved or linked M ix ignores differ ing sample rates however and all events are mixed as if they had the same sample rate Pen aan aCe a MIXING IN ACADIA BOUNCE TO DISK It s possible to perform a bounce to disk with Vision s M ix command in Acadia mode taking full advantage of any assigned plug ins EQs and sends Use this command
216. apabilities include e 4automatable bands of real time EQ per audio channel e 4automatable VST plug ins per audio channel e 4Asends per audio channel routeable to outputs or busses e 16nameable audio busses for sub mixes and routings When using the Acadia audio system Vision uses the ASIO driver specification developed originally by Steinberg Soft und Hardware GmbH for inputting and outputting digital audio Included with Vision are Opcode ASIO drivers for Sound M anager taking advan tage of the built in sound capabilities of your PowerM ac and Digidesign s DirectlO supporting the Audiomedia Ill and other Digidesign PCI audio cards There are ASIO drivers available for a number of M acintosh audio cards such as the Korg 1212 I O and the Sonorus STUDI O For the availability of these and other ASIO drivers contact the manufacturer NOTE Vision looks for ASIO driversina folder called ASIO Drivers This folder must reside in the same folder as the Vision application Vision amp Studio Vision Pro Audio Reference Manual 13 PART 3 The Acadia Audio System SYSTEM REQUIREMENTS To run Vision with the Acadia audio sys tem you must meet the following computer requirements e A PowerM ac 603 or faster recom mended with Level 2 cache AS O compatible digital audio card recommended but not required Consult the QuickStart card included with your package for information on
217. appears after you invoke and configure a DSP Operation Save with sequence files Check this option if you want each Vision file to remember its own DSP Preferences This lets you set com pletely different sets of preferences for different files keeping your hard disk and separate recording projects more organized If this option is unchecked all Vision files will use your most recent prefer ence selections Vision amp Studio Vision Pro Audio Reference Manual 429 PART 7 Menus 430 Opcode Systems Inc Vision amp Studio Vision Pro Audio Reference Manual 431 Index 432 Opcode Systems Inc Index INDEX Symbols u law 2 1 in Audio Format dialog 229 Numerics 24 Bit 24 A Acadia Audio Preferences 88 Disk resources 85 fixed allocation 37 importing audio 207 M ix command 316 playing stereo files 42 recording atrack 29 recording overview 25 recording step by step 26 31 ReWire 329 selecting 14 syncing 326 system requirements 14 Acadia audio system 353 Action buttons Import Audio dialog DAE 210 Active in Background 19 356 Add All Import Audio dialog Acadia 207 Add button Import Audio dialog DAE 210 Add tracks to existing movie Export as QuickTime M ovie dialog 222 Add Open Import Audio dialog Acadia 207 Adjust Audio Tempo 389 to anew static tempo 392 393 to atempo map 389 391 advanced recording techniques 31 AIFF
218. ar scenario conserves CPU resources by allowing audio channels to Share plug ins While this example uses just two sends you could use up to four per channel In the Audio Instruments amp Routings Window set two of your busses to stereo and name them as Effect 1 and Effect 2 Open a Console Window and assign the desired Audio Instruments to console channels You can automatically assign the Audio Instruments in use by your sequences by choosing Build Console From gt Audio Instruments in Use in the Console Window menu Assign the busses Effect 1 and Effect 2 to their own console channel Make sure these console channels are assigned to an output pair so you can hear them in stereo From the Console Window menu choose Audio Sends gt 2 Sends Vision adds two Send areas for each audio channel in the console For the Audio Instrument channels assign Audio Send 1 to the Effect 1 bus and assign Audio Send 2 to the Effect 2 bus Vision amp Studio Vision Pro Audio Reference Manual 15 PART 3 The Acadia Audio System 6 From the Console Window menu choose Plug Ins gt 1 Plug In Vision adds one Plug In area for each audio channel in the console 7 Assign a plug in to the console channels assigned to Effect 1 and Effect 2 tno send tno send tno send tno send Steren Echo Each bus assigned to a separate single plug in i a wo 3 wo Si
219. arameter P Plug in Parameter P Figure 24 3 Automation type submenus The Strip Chart contents menu and the List window Insert menu both include the Submenus shown In Figure 24 3 All of the types of automation discussed in this chapter are in these menus Vision amp Studio Vision Pro Audio Reference Manual 265 Pitch Bend After Touch Poly Attertouch Velocity Scale Controllers Hod Wheel 13 Breath Ct 2 Foot Ct 4 Porta Time 5 Yolume C7 Pan t10 Sustain Pdl 64 Porta Fedal 65 Figure 24 4 MIDI submenu MIDI b Audio Volume Automation Send 1 Level Send 2 Level Send 3 Level Send 4 Level Plugin 1 Bypass Plugin 2 Bypass Plugin 2 Bypass Plugin 4 Bypass Fhase Invert EQ Enable Figure 24 5 Automation submenu EQ Band 1 Freg EQ Band 1 Gain EQ Gand 1 Width EQ Band 1 Type EQ Band 1 Enable EQ Band 2 Freg EQ Band 2 Gain EG Band Z width EQ Band 2 Type EC Band 2 Enable EQ Band 3 Freg EQ Band 4 Gain EQ Band 3 Width EQ Band 3 Type EQ Band 3 Enable EQ Band 4 Freg EQ Band 4 Gain EG Band 4 Width EQ Band 4 Type E Band 4 Enable Figure 24 6 EQ Band Parameter submenu Plug in Parameter Figure 24 7 Plug in Parameter submenu The Plug in Parameter submenu appears only if there are plug ins assigned in the current sequence file You must assign a plug in in a Console before you can insert or view automation events for that plug in For information
220. are written to the hard drive as a single audio file as shown below 3 Invoke a DSP operation this example uses Invert Phase Hard Drive 4 Each processed event is written to the hard drive as its own audio file as shown below Hard Drive My Song 001 Inv m My Song 002 Inv My Song 003 Inv sbechinboed My Song 004 Inv ee 5 And each new audio event references its own individual audio file My Song 001 Inv 5 And each new audio event references a portion of this new audio file as shown above Figure 41 6 Using the Save All new events in a single file Option If you select numerous audio events then invoke a DSP operation that uses the Save each new events ina separate file preference then Vision writes each of the processed files into its own file and assigns them anew audio event This option creates more Figure 41 7 Using the Save Each new event in a separate file Option Vision amp Studio Vision Pro Audio Reference Manual 427 PART 7 Menus NOTE If you select the Each option without enabling the Bypass Save As Dialog option Vision will only display a Save As dialog box for the FIRST file that needs saved Subsequent files will be saved in the same folder you selected in that first Save As dialog If you type a name other than the default that name will be used only for the first file Subsequent
221. as left at the end of this event Natural sounding cut offs due to Attack and Release settings Figure 27 11 Strip Silence Events Setting Attack and Release times can result in more natural sounding events when you use the Strip Silence and Slice Audio commands USE ZERO CROSSINGS The Use Zero Crossings option available in earlier versions of Vision no longer exists Vision always uses zero crossings with all applicable audio commands Automatically using zero crossings conve niently avoids pops and clicks at the beginnings and ends of audio events 314 Opcode Systems Inc CHAPTER 28 Mixing Digital Audio Bouncing The first two of these methods which mix the selected audio data together into a new composite file are discussed in depth in this chapter If you re familiar with mixing down or bouncing tracks in analog recording you ll be familiar with the basic idea of Vision s mix procedures Vision offers several methods of mixing audio Export Audio Mix vs DSP gt Mix e Direct Audio Mixing Use the DSP gt Mix command to mix together multiple audio events into a single file on a single Audio Instrument In Acadia mode you can even include EQs plug ins bussing etc Although Vision s DSP gt Mix command and Export Audio Mix may seem similar at first they are actually quite different Specifically e Mix discussed in this chapter cre ates a file only in formats that
222. ase you would select a bus as your record source in the Record M onitor Recording from busses is similar to recording from Audio Instruments as previously described You cannot record from a bus if its output is not assigned to a hardware output To record a submix Ina Console Window assign the output of each audio channel in your mix to a stereo bus This can even include hardware inputs and even other busses a a a E E a E z E E E E E EEEEEEEEEEEEE E kl sebeeeeeeeeee m L ga Bus 1 Bus 1 Analog L R Then assign the output of that bus to a hardware output pair This channel will act as your submaster fader 2 Assign any desired plug ins and EQs to your console channels including the submix bus 3 Check Linked Pairs in the Record Monitor Window Vision amp Studio Vision Pro Audio Reference Manual 81 PART 3 The Acadia Audio System 4 From the Record Source pop up in the Record Monitor select the submaster bus Record to an unused stereo Audio Instrument as you would normally record any audio rack All audio and effects with fader move ments for all bussed Instruments are recorded While recording move any of the volume and pan faders for dynamic real time changes in your mix NOTE In order for pan automation to be recorded you must assign the output of a mono Audio Instrument to a stereo bus Then specify the ster
223. ate pop up TDM 155 pasting audio events 197 Peak 181 Performance window 83 CPU 84 RAM resources 86 Phase Invert 278 Phase Toggle button EQ area 55 inverting phase with 55 pitch fluctuations stabilizing with MIDI to Audio 410 Pitch Shift command 380 Pitch Shift Quality 380 M IDI to Audio dialog box 408 Play Offset Audio Preferences Acadia 92 determining 94 Play Stop Import Audio dialog Acadia 208 playing in File Management window 286 Plug In area 50 Bypass button 51 Edit button 50 Plug In Selector 51 Plug In Type 51 Plug In Bypass 277 Plug In Edit window 63 anatomy 64 Bypass button 65 Channel 65 Flip button 65 M ute 65 Plug In parameters 65 Plug In Selector 64 Program 65 66 Slot 65 Solo 65 TDM 153 Template 64 66 Plug In Edit window TDM Bypass button 154 Channel 153 M ute 154 Plug In Selector 153 Slot 153 Solo 154 Templates 153 Plug In parameters 279 Plug In Edit window 65 Plug In Selector Plug In Edit window Acadia 64 Plug In Edit window TDM 153 plug ins assigning 47 assigning example 47 48 assigning TDM 150 bypassing TDM 155 mono in mono out 51 mono in stereo out 51 mono stereo TDM 151 multiple instantiations 282 parameter names 281 parameter values 281 rearranging 49 removing 49 275 saving recalling templates 65 Sharing plug ins 75 stereo in stereo out 51 tip for recording automation 264 using mono 52 using mono TDM 152 using
224. ates To do so CG Choose Delete Template from the Audio to MIDI dialog s pop up menu Vision opens a dialog box asking if you re sure you want to delete the selected template Click OK Vision deletes the template NOTE You cannot delete the factory tem plates that ship with Vision Re Analyze Audio The Audio to M IDI dialog s pop up menu contains one additional option called Re analyze Audio You will only need to use this command if after performing an Audio to M IDI con version you edit the original audio data in an external editing program such as AudioShop Sound Designer II or Peak and then want to use that same audio file to perform another Audio to M ID conversion INSIDER S NOTE When you process audio data externally Vision has no way of knowing what changes occurred Choosing Re analyze Audio forces Vision to reper form all its advanced audio to M IDI computations on the audio file MIDI TO AUDIO NOTE This command is available only to owners of Studio Vision Pro Choose this command to apply MIDI edits to the selected audio data M IDI to Audio conversion provides an intuitive way to edit audio data using user friendly MIDI editing techniques You can edit the M IDI data created by an Audio to M IDI conversion then apply those edits to your original audio file This lets you e fix wrong notes in your audio performance e add harmony parts to your audio p
225. ating pitch remains stable for a set amount of time For example if the audio slowly glis sandos from C4 up to G4 but lingers at E4 for longer than the Pitch is stable for value then Vision creates aMIDI note at E 4 If you don t want Vision to create new notes from a wavering or gliding audio input select higher values from the pop up menu Conversion Speed pop up menu Use this pop up menu to tell Vision how quickly to perform the Audio to MIDI conversion Slower does not necessarily mean better In fact Fast will work for most conversions Basically this parameter tells Vision how much of the audio s upper harmonic spectrum to consider when performing an Audio to M IDI conversion Source material that s rich in harmonic con tent may require slower conversions Concert A numerical Use this numerical to tell Vision how your source audio is tuned M ost American instruments are tuned to A 440 Hz though different countries or styles of music sometimes use slightly differ ent values Unpitched Audio option and Assign To numerical Check this option if your audio source is unpitched such as apercussion track or if you want Vision to only extract rhythmic infor mation from the audio file Use the Assign To numerical to tell Vision which single MIDI note to create when performing the Audio to M1IDI conversion Volume pop up menu From this pop up menu select h
226. audio file is referenced by numerous audio events as illus trated in Figure 21 3 240 Opcode Systems Inc CHAPTER 21 Advanced Recording Techniques 1 With the All option selected in the pop up menu Save ay new take in a separate file 2 Record several takes in the same track 3 All recorded events are written to the hard drive as a single audio file as shown below Hard Drive My Song 001 7 Pquence A Track5 2 foo Audio c i t f i nall _ 4 And each new audio event references a portion of this new audio file as shown above Figure 21 3 Using the Save All new takes in a single file Option If you record numerous audio takes with the Save each new take in a separate file preference then Vision writes each of the recorded take into its own file and assigns them a new audio event This option creates more audio files but each audio file is refer enced by a single audio event as illustrated below 1 With the Each option selected in the pop up menu Save Each new take jin a separate file 2 Record several takes My Song_Audio 1 001 aan My Song_Audio 1 002 a My Song_Audio 1 003 tepetepe My Song_Audio 1 004 ren 4 And each new audio event references its own individual audio file Figure 21 4 Using the Save Each new event in a separate file Option If you type a name other than the
227. ave Settings As from the T em plate Functions pop up For details see the rest of this section The Template Functions pop up con tains commands for saving importing exporting copying and pasting templates for plug in parameter settings Template Save Settings Save Settings As Delete Template Copy Settings Paste Settings Save as Default Import Settings Export Settings Load Templates From Figure 16 8 Template Functions pop up Following is a description of each of the commands in the Template Functions pop up e Save Settings Saves the current parameter settings as a plug in tem plate using the current template name If the name already exists as a tem plate this command overwrites it with the current displayed set of plug in parameters Save Settings As Saves the current parameter settings to a new plug in template With this command you are prompted to name the new template 154 Opcode Systems Inc CHAPTER 16 TDM Bussing Routing amp Plug Ins Delete Template Deletes the cur rently selected plug in template e Copy Settings Copies the current set of plug in parameters to the Clip board which is handy for pasting programs to another plug in slot or console channel using the same plug in e Paste Settings Pastes the parameter settings from the Clipboard to the current Plug In Edit Window for the displayed audio channel e Save as Default Sa
228. away audio that the current sequence doesn t use This frees up disk space for future recordings If you check the Auto Compact option in the Record M onitor Window Vision com pacts the current record file if necessary at the end of each record take It s the same as if you opened the File M anage ment dialog box and used its Compact command as discussed in Compact pg 286 If you compact your record file and you ve named your sequence file com pacting will re save your sequence file This ensures that the files remain consis tent Therefore don t compact if you don t want your sequence file saved saving the file means you cannot revert later Keep in mind that you can always undo recording even after your record file has been compacted unless you use the Clear Clip and Undo command discussed In Clear Clip and Undo pg 299 Vision amp Studio Vision Pro Audio Reference Manual 243 PART 6 Advanced Audio Techniques Save the Sequence Save your sequence file when you re done recording To do so Choose File gt Save Vision saves the file If you haven t yet named the sequence file Vision opens a standard Macintosh Save As dialog box Use the dialog box to name and save the sequence file Vision saves all your audio events with the current sequence file The next time you open the sequence file Vision will locate the audio files referenced by that sequence file and will alert
229. b Sub Mix L r0O 0 0 Sub Mix E rO 0 0 Return 1 rO 0 0 Return 2 pO 0 0 Return 3 rO 0 0 Return 4 rO 0 0 Return 5r 0 0 0 Return O O 0 Line h_ Front 1 p O O 0 Line h_ Front 2 p O 0 0 Line fh Front 3 pO 0 0 80000 OOOOOOOD 2 7000 OOOOOOOO 0000 OoOooo0oggn I i 2 3 4 5 67 8 Monitor Headphone Min Cue Tape Monitor Figure 12 9 882 Studio Routing Dialog Box Vision amp Studio Vision Pro Audio Reference Manual 103 PART 4 Digidesign DAE Configuration amp Recording This dialog works similarly to the Route Window for Pro Tools Project which is discussed in your Digidesign documenta tion The only exceptions are as follows Insert Differences Unlike the Pro Tools Project s Route Window you cannot drag an insert to an input To assign an insert to an input in Vision C1 Click the desired insert number at the top of the dialog box to select it 1 Sub Hix L rO 0 0 0 Sub Mix k rO 0 0 0 Return 1 O O 0 0 Return 2 r 0 0 0 Return 3 r 0 0 0 2 Click a square to the right of an input to assign the selected insert iH2H hO4 Sub Mix L rO 0 0 0 Sub Mix E rO 0 0 0 Return 1 Osa4FO 0 Return 2 rO C 0 0 Return 3 rO 0 0 0 Also the Routing dialog box in Vision lets you assign up to four inserts to a single input The Route Window for Pro Tools Project supports only one insert per input O 0 0 0 Sub Mix L r
230. c Window looks as follows Vision amp Studio Vision Pro Audio Reference Manual 415 PART 7 Menus Now if you perform aM1DI to Audio con version Vision changes the pitch of the first audio note from A to C This audio is unchanged This audio is pitch shifted to C What happens to the audio in THIS range Figure 39 11 Pitch Shifted Audio Quandary 1 Look at Figure 39 11 What does Vision do with the area in question This is the purpose of the Process Note Until pop up menu If you select the End of note option Vision pitch shifts only the audio data enveloped by the duration of the MIDI note In this example the pitch of the first note would shift from A to C but the final little reverb tail contained in the rectangular area shown in Figure 39 11 would not be pitch shifted This would Cause a disconcerting jump in pitch at the tail of the note If you select the Next note option Vision pitch shifts the first audio note ALL THE WAY to the beginning of the second M IDI note regardless of how long the first MIDI note is This means the final little reverb tail contained in the rectan gular area shown in Figure 39 11 would also be pitch shifted providing the proper audio result Velocity changes work in a similar way For example if you reduce the velocity of the first note then select the End of note option Vision attenuates only the audio env
231. cannot record from an Audio Instrument if the signal doesn t also go to a physical output More on Recording from Busses You may want to record a master mix submix or from the output of a bus that has several TDM effects on it In this case you would select a bus as your record source in the Record M onitor Recording from busses is similar to recording from Audio Instruments as described above Y ou cannot record from a bus if the signal doesn t also go to a physical output To record asubmix CG Ina Console assign the main outputs of the Instruments in the mix to a bus This can include hardware inputs as well which can also be bussed to a bus ea Output 1 2 2 Assign the output of that bus to an output pair This will become your submaster fader 3 Assign any TDM effects to your Instruments and main output bus Check Linked Pairs in the Record Monitor Window 5 Enable recording on a stereo pair Vision amp Studio Vision Pro Audio Reference Manual 171 PART 4 Digidesign DAE Configuration amp Recording Select the submaster bus as your record source from the Input pop up In this example it is Bus 1 7 Record to an unused Audio Instrument as you would normally record any track All audio and effects with fader move ments for all bussed Instruments are recorded To record pan on asingle instrument Send the main outputs of the Audio
232. ce e Youcan break up one long audio event into separate short audio events in order to work with the audio more easily Doing this has many benefits including a You can easily copy and paste small sections of audio such as a par ticular drum sound or an oft repeated vocal line b You can quantize individual events such as separate drum hits ina recorded drum track c If you re syncing to tape and are playing back digital audio using only the session sample rate as is required with Acadia breaking audio into smaller events means there is less likelihood of digital audio drift ing out of sync with audio on tape To learn about Strip Silence dialog box how to gate audio with the Strip Silence command and how to separate auto Sepa rate audio using the Slice Audio command see Chapter 27 Strip Silence and Slice Audio 346 Opcode Systems Inc CHAPTER 32 The Audio Menu GET EVENT INFO Choose this command to get information about an audio event When you choose Audio gt Get Event Info Vision opens the Audio Event Info dialog box Audio Event Info Event Name Duration 4 07 secs Audio File Dueling basses 22050 File Yolume SY Docs File Format Audio IFF Sample Rate 22050 Sample Size 16 bits Channels M Sample Start O Sample End 179480 Figure 32 7 Audio Event Info Dialog Box The Audio Event Info dialog box is a con venient quick way to look up specific
233. channel The EQ toggle is duplicated in the EQ Window changing it in either location updates the other The EQ Window also has independent toggles for each EQ band Phase Toggle button When clicked this button inverts the phase for the audio channel For an explanation please see Phase pg 55 Gain faders These faders adjust the Gain for each of the four EQ bands Gain faders are only displayed if the EQ band is enabled and set to Low Shelf Parametric or High Shelf Gain faders are not available if an EQ band is set to either Low Cut or High Cut The Gain faders are also displayed in the EQ Window Changing the Gain value in either location updates the other EQ Type These graphics indicate the type of EQ used for each band which include Low Shelf Parametric High Shelf High Cut A band s EQ type can only be changed from the EQ Window PHASE Pressing the Phase button in the EQ area of a console channel inverts the phase for the assigned audio channel This 180 degree shift makes positive signals nega tive and negative signals positive The phase switch is used to prevent signal cancellation that occurs when two signals are out of phase with each other In general if your mix seems weaker when you play a particular audio channel that audio is probably out of phase with the rest of your mix try inverting its phase to strengthen it in the mix IMPORTANT Within t
234. channels are referred to as inputs in Vision An audio signal out put in another application like ReBirth is sent via ReWire to an input in Vision For documentation purposes input and channel are synonymous when discussing ReWire Enabled ReWire Channels in the Audio Instruments Window By default the only enabled ReBirth or Retro input in the Audio Instruments window is the M ix or M ain input The M ix input includes all audio from the application Other ReWire applications may or may not have a M ix channel it is up to the manufacturer to decide You can also enable individual ReWire inputs This is useful if you want to mix each channel separately but it does require more RAM NOTE for ReBirth Users In addition to individual inputs and a general Mix input ReBirth also includes an 808 Mixanda 909 Mix input If you enable an individual input while the M ix Input is enabled you may hear the individual channel on its own input and the M ix input This could cause an unde sirable doubling effect H owever ReBirth and Retro automatically remove all enabled individual inputs from the M ix input Other ReW ire applications may behave differently again itis up to the manufacturer to decide For example if Retro AS 1 M ain and Retro AS 1 Ch 1 are enabled the Retro AS 1 M ain input will contain only the signal from Retro channels 2 15 Enabling and Disab
235. ck Automatic Sample Rate Setting for Existing Sequences When you open an existing Vision file Vision will automatically set both the session sample rate and the hardware sample rate if both of the following condi tions are met e All audio files referenced by the sequence have the same sample rate AND e This sample rate matches one of the available hardware sample rates If both of these conditions are met Vision automatically sets the session sample rate and hardware sample rate to match the sample rate of the audio files a a O CHECKING DISK ALLOCATION The following DAE users will need to use a program called Checking Disk Allocation e ProTools IlIl 24 e Session 8 Project e System Accelerator Pro Tools amp II with more than four voices 106 Opcode Systems Inc CHAPTER 12 DAE Hardware Setup If you installed Vision correctly the Checking Disk Allocation program is automatically installed in the Startup Items folder in your System F older When you record digital audio with one of these systems Vision automatically allo cates one or more files that fill the entire hard disk If the application crashes while recording you re stuck with files that take up your entire hard drive You could just throw them away but if they contain data that you want to save you re in trouble This is where the Checking Disk Alloca tion program comes in When you restart your computer Checking D
236. ck OK Unless you disabled its display in the DSP Preferences dialog discussed on page 423 Vision opens a Save As dialog box 392 Opcode Systems Inc CHAPTER 35 DSP Menu Pitch Shift Formant Shift Time Scale and Adjust Audio Tempo 6 Configure the dialog as discussed previously then click Save Vision creates a new audio file or files for the tempo adjusted audio It creates one or more new audio events to play that audio replacing the original audio event s in your sequence IMPORTANT This process replaces the entire sequence s Tempo M ap with the new static tempo you entered Vision amp Studio Vision Pro Audio Reference Manual 393 PART 7 Menus 394 Opcode Systems Inc CHAPTER 36 DSP Menu Audio to MIDI and MIDI to Audio The DSP menu contains numerous algo rithms designed to process audio completely within the digital domain This chapter deals with the Audio to MIDI and MIDI to Audio commands ca Audio to MIDM MIDI to Audio Figure 38 1 DSP Menu DSP commands are constructive mean ing they create new audio files without altering your original audio data DSP commands work on mono stereo interleaved or linked audio files with bit depths of 8 16 or 24 If you select multiple audio files on which to perform a DSP operation all selected audio files must be the same type mono interleaved or linke
237. column you need to under stand Vision s voice allocation modes Voice Allocation Modes Vision can play as many simultaneous audio events as your hardware has voices up to amaximum of 16 For example if you have a 4 voice system Vision can play 4 different audio events simultaneously Vision supports two types of voice alloca tion dynamic and fixed which you can select from the Audio Instruments Window menu Audio Instrum Dynamic Allocation Fined Allocation Figure 15 6 Audio Instruments Window Menu PRO TOOLS III Dynamic Allocation is not available with Pro Tools Ill 24 or any other TDM equipped hardware The following sections discuss the differ ences between the two voice allocation schemes Dynamic Voice Allocation When you use dynamic voice allocation mode Vision automatically steals voices from other Audio Instruments as needed This mode is particularly useful when your hardware supports only a limited number of simultaneous playback voices PRO TOOLS Ill You cannot use dynamic voice allocation with Pro Tools Ill or any other TDM based audio system This is because TDM plug ins are hard wired to specific voices If Audio Instrument voice assign ments were to change the plug ins affecting that Audio Instrument would also change resulting in undesirable sonic changes Fixed Voice Allocation When you use fixed voice allocation mode Vision always uses an assigned voice
238. command see Chapter 28 Mixing Digital Audio Bouncing NORMALIZE Choose this command to scale the ampli tude of the selected audio so that its peak value is set to Odb This process known as normalizing is particularly useful for increasing the audio level of sounds that were recorded too quietly Audio prior to normalizing Audio after normalizing Figure 33 2 Example of Normalizing Audio To use the Normalize command Select the audio event s or portion of events you wish to normalize Choose DSP gt Normalize Unless you disabled its display in the DSP Preferences dialog discussed on page 423 Vision opens a Save As dialog box 358 Opcode Systems Inc CHAPTER 33 DSP Menu Mix Normalize Reverse Invert Phase and Convert Sample Rate c Audio 1 HD Process event s into ty Song 001 Norm Space Needed 1 4 MB O Bypass this dialog next time Available 863 6 MB Figure 33 3 Save As Dialog for Normalize When you normalize audio Vision con structs one or more new audio files depending on the file saving option you select in the DSP Preferences dialog box discussed on page 423 It leaves your original audio file or files unaffected Use the File Format pop up menu to specify the desired file format AIFF or Sound Designer Il Navigate to the folder in which you want to save the file By default Vision selects the folder you specify in the DSP Preferences dialo
239. contains a small digital audio icon 3 Inthe Control Bar either set a Countoff or select Wait for Note Vision amp Studio Vision Pro Audio Reference Manual 115 PART 4 Digidesign DAE Configuration amp Recording 4 Click the Record button in Vision s Control bar If you chose Wait for Note either play a MIDI note click the Play button or press the Spacebar to start recording 5 Play or sing into your digital audio interface 6 Click the Stop button when you want to stop recording The remainder of this chapter discusses these steps in detail ae O M RECORDING STEP BY STEP The following sections discuss how to setup and record a single audio track in Vision Designate a Record File To record audio you must first designate where to store it on your hard disk This is called the record file To designate a record file for a monopho nic input Choose Windows gt Record Monitor Vision opens a Record Monitor Window Record Monitor 45 26 10 2 Clip Record File Available Instrument Figure 14 1 Record Monitor Window for Session 8 Project Click the Record Enable Indicator next to the appropriate input channel Input 1 SEROOSRRRe Input 2 PTT Ee laa Vision opens a standard Macintosh Save As dialog box Type a name for your new record file in the Save As dialog box or use the name Vision suggests PRO TOOLS III 24 PRO
240. corded fader movements will not change In fact faders themselves have become much more flexible For example Open the Faders window and assign the first fader to control pan for an instrument This example uses JD 800 1 0 Faders Fi iz Je ID S00 1 Pan 10 F2 127 Ez i127 Record enable a track RInNjS 3 Press the Record button MOD 4 Click on the fader and drag it back and forth to record pan information Faders Vision amp Studio Vision Pro Audio Reference Manual 271 Press the Stop button and open the List window You can see the pan events in the List window 149 Pan 10 21261 Pan 10 2 309 Pan 10 29506 Pan 10 2 372 Pan 10 2 369 Pan tit 2 420 Pan 10 2d 24 IP mam Notice that these are not fader events assigned to pan they are pan events You could also assign a Console channel to J D 800 1 and the pan fader in that con sole would move in unison as well Although this example uses aM IDI instrument the same principles apply when dealing with audio instruments See your MIDI Reference M anual for more details
241. ct hard disk storage AN There are 1 audio event s using Dueling basses 22050 that will be removed Do you want to continue Continue C This is useful if for example you dislike a particular take used by multiple tracks in your sequence instead of opening all the tracks and deleting the audio events you could just remove the file from the list Remove from List is also useful if you consolidated a file into a new file and the original now unused file is still listed in the File Management list Since your Vision file is no longer referencing data in it you might want to remove it from the list Remove from Listis not undoable Select Unused Select Unused selects all files listed in the File M anagement dialog box that are not referenced by the current sequence rate files and only use some of them in the sequence After choosing Select Unused you may want to use the Delete or Remove From List command to orga nize the File Management Window Select All Select All selects all the files listed in the File Management dialog box Clear Clip and Undo Clear Clip and Undo clears everything stored in the M acintosh Clipboard and the Undo buffer Although you can see in the File M anage ment dialog box how much of your hard disk data is being used in a sequence the display also takes into account audio events that are stored on the Clipboard or in the Undo buffer It regards data In either of these
242. ct this option Vision displays waveforms as a straight line and wastes no time calculating their appearance e Fast This display option allows Vision to redraw waveform displays quickly because it draws them ata low resolution This may be desirable when you re recording or playing back audio but the lower resolution is not as good for detailed audio editing High Resolution This display option allows Vision to display the actual texture of waveforms This is desirable when you re editing and need to clearly see all peaks and val leys but it takes the longest amount of time to recalculate and draw For more information see Chapter 30 The Audio M enu in your Audio Reference M anual NOTE Remember if you want to turn audio recording off so Vision records only MIDI disable the Record Enable Indicator in the Record M onitor Window or simply close the window You can see if audio recording is enabled by looking for the little digital audio waveform in the Record M ode pop up ADVANCED RECORDING TECHNIQUES The following sections discuss other audio recording techniques for Vision Stereo Recording This section discusses how to set up Vision to record stereo audio events using the Acadia audio system To record a stereo track Inthe Record Monitor Window click the Link Pairs option to check it O Record Monitor lj Thru Off Sample Size 16 bits C Auto Compact fy tink Pairs
243. d and the same bit depth 8 16 or 24 The only exception to this rule is the Mix command You can undo any DSP command This provides a convenient way to do an A B comparison between the processed and unprocessed audio The following sections describe the Audio to M1DI and M DI to Audio algorithms in detail WHO SHOULD READ THIS CHAPTER This chapter applies only to owners of Studio Vision Pro Vision amp Studio Vision Pro Audio Reference Manual 395 PART 7 Menus AUDIO TO MIDI NOTE This command ts available only to owners of Studio Vision Pro Choose this command to create M IDI data that replicates the selected audio data You can convert single audio events but you cannot perform audio to MIDI con version if your selection spans more than one audio event IMPORTANT Vision can only convert audio data that contains monophonic per formances It cannot recognize chords only single notes How Vision Converts Audio Data to MIDI Data Vision analyzes the audio data and creates M IDI data of the following types e Notes Vision analyzes audio pitch and creates MIDI notes based on the analysis e Velocity Vision analyzes the loud ness of each audio note s attack and uses the analysis to assign a MIDI velocity to each MIDI note e Volume Vision analyzes how the volume of an audio note changes over time It then generates MIDI volume changes based on t
244. d Mngr Snd Mngr no output o no output 0 0 v Cno output v Cno output z 0 0 no output o no output o Figure 6 1 Audio Instruments amp Routings Window TIP Ifa track contains only audio data you can open the Audio Instruments amp Routings Window directly from either the List or Graphic Window by clicking the Instruments button kal Any of these items which we will often refer to as audio channels can act as input sources in the Console W indow or Record M onitor As can be seen in Figure 6 1 the Audio Instruments amp Routings Window con tains sections for the following items Vision amp Studio Vision Pro Audio Reference Manual 35 PART 3 The Acadia Audio System Each of the four sections in the Audio Instruments amp Routings Window can be closed or opened by clicking the appropri ate open close triangle see Figure 6 2 w Outputs Sound Manager L Sound Manager R w Outputs Sound Manager L W Sound Manager R v Snd Mngr Snd Mngr Snd Mngr Snd Mngr no output no output Figure 6 2 Busses section opened and closed Vision offers a great amount of flexibility in routing and processing audio While the following sections in this chapter explain the various controls in the Audio Instruments amp Routings Window Chapter 7 Acadia Audio Channels in Consoles explains how to assign plug ins sends and EQs In addition Chapter 10 Acadia Bussing Routing
245. d audio This is a good choice for all the same reasons that Off is a good choice However it gives you the added secu rity of Knowing that you will not produce a clipped audio file If Vision is forced to reduce the over all gain of a file to avoid clipping it will alert you before processing the file Attenuate Loop Mix au by 3 1 dB in order to prevent clipping Cancel Allow Clipping Attenuate This lets you know that you may need to make volume adjustments in your sequence to compensate for the volume reduction of the new audio file Output file size Display The Output file size display always shows the estimated amount of disk space that the requested file type will occupy Output file size 496K This display is very useful when you need to optimize a file to fit within a certain amount of disk space such as for web or CD game development Bypass this dialog next time Option By default the Audio Format dialog box appears whenever you export an audio mix You can however bypass this dialog box and go straight to the standard Save As dialog box by clicking the Bypass this dialog next time option C Bypass this dialog next time If Bypass this dialog next time is checked then choosing an Export com mand always opens a standard Save As dialog box c Macintosh HD Desktop Miz event s into Available 407 5 MB Eel Desktop o Macintosh HO Fi RAM Di
246. d busses Click in the Stereo column to turn mono Outputs into a stereo Output pair Outputs Output 1 Output 2 F Output 3 Output 4 ooo oa Figure 15 8 Stereo output pair Hardware inputs and outputs can appear in the Audio Instruments amp Routings Window as either mono or stereo pairs For instance if your audio interface has just two outputs 1 2 they can act as indi vidual mono outputs or they can act as an output pair The Stereo column deter mines how inputs and outputs can be used as input sources for console chan nels in the Console Window Regardless of the state of the Stereo col umn inputs are always available as individual mono inputs and stereo input pairs in the Record M onitor s Source pop up and outputs are always available as individual mono outputs and stereo output pairs in the Output pop up for con sole channels If Vision is set to fixed allocation mode the Audio Instruments Window contains a Stereo column Click the Stereo column in an Audio Instrument row to make that Audio Instrument stereo Stereo Audio Instruments require two voices for playback one for each chan nel Vision pairs voices sequentially That is it pairs Voice 1 with Voice 2 Voice 3 with Voice 4 and so on The Stereo column functions differently depending on which Digidesign hardware you own Pro Tools III 24 see Stereo Voic ing Pro Tools III 24 Only pg 141 All other DAE
247. d release the mouse button NOTE If an Audio Instruments is set to stereo mode you will only be able to assign voices in pairs For information see the next section STEREO POLY COLUMN The name and function of this column changes depending on whether Vision uses fixed or dynamic voice allocation Voice allocation modes are defined in Voice Allocation M odes pg 136 Specifically Dynamic Allocation If you use dynamic voice allocation this column is labelled Poly and works as described in Using The Poly Column pg 138 e Fixed Allocation If you use fixed voice allocation this column Is labelled Stereo and works as described in Using the Stereo Column pg 139 Using The Poly Column Use the Poly column to enable or disable poly mode for each Audio Instrument With poly mode enabled an Audio Instru ment can play multiple audio events simultaneously provided the audio events are on separate tracks To fully comprehend poly mode you should have an understanding of such basic terminology as audio events and voices See Chapter 2 Basic T erminol ogy for more information The following sections describe poly mode in greater detail Poly Mode On If an Audio Instrument s Poly column is checked then poly mode is enabled for that Audio Instrument With poly mode enabled an Audio Instru ment can play as many simultaneous audio events as your audio hardware allows
248. de Crossfade eet AS you can see in the previous illustration FADE CROSSFADE fee are four ee areas in the dialog Use this command to crossfade overlap nox ping audio events and or to fade in or Fade Crossfade length mode fade out one or more audio events Cross From the pop up menu select fades can help provide seamless whether you want to manually set transitions between disparate audio fade and or crossfade lengths or events have Vision automatically set them based on your selection The Fade Crossfade Settings e TOSSE paramens Dialog Box These parameters determine the length of the crossfade its shape and Vision Supports numerous fade and cross Its position relative to the splice point fade options all of which are available in You can completely disable the cross the Fade Crossfade Settings dialog box fade feature should you only wish to This dialog appears when you select the create fade ins or fade outs desired audio events or portions of audio The various crossfade techniques are events and choose DSP gt Fade discussed in Creating Crossfades Crossfade pg 374 Fade In Out parameters Fade Crossfade Settings These parameters separately deter Set fade crossfade lengths manually Q KPEE o mine the length of fade ins and oo Paer fo meee m fade outs as well as the shape of each centered at the splios point fade You can completely disable If there is
249. default that name will be used only for the first recording Subsequent files will return to using the automatic names discussed in Auto Naming Options on page 242 Vision amp Studio Vision Pro Audio Reference Manual 241 PART 6 Advanced Audio Techniques Default Folder This button opens a standard Save As dialog box in which you specify the default file format and the default folder in which all recorded files of the specified type are stored Select a folder c Audio 1 HD Eject Select Audio Open You can select to save all files in either AIFF or Sound Designer I format When you ve navigated to the desired folder click the Select folder name button to make it the default its name will appear under the Default Folder button in the Audio Recording Preferences dialog box Default Folder OO Bodie Name of current default folder Auto Naming Options Use these two pop up menus to spec ify exactly how you want record operation to automatically name the new files that it creates Document Marne audio Instrument unique Nuraber Example Untitled Audio 1 002 You can specify both a default prefix and a default suffix Vision combines or concatenates the prefix suffix and adds a sequential number to create the file name To specify the prefix select it from the left most pop up menu as shown below Create unique filenames by concatenating
250. desired number of Audio Instruments CQ Press and hold the mouse on the menu in the Audio Instruments amp Routings Window 2 Move the cursor over the Number of Instruments item Vision produces a pop up menu from which you can select the desired number of Audio Instruments Audio Instruments amp Routings 0 m Snd Mgr Snd Mgr Snd Mgr Snd Mgr Snd Mgr Snd Mgr Snd Mgr 2 O DE ES Pa I Te Figure 6 3 Selecting the number of Audio Instruments 3 Highlight the desired number of Audio Instruments then release the mouse button To specify a number of Audio Instru ments not listed in the submenu choose the Other option From the dialog that appears you can specify any number of Audio Instruments up to 128 VOICE ALLOCATION AND AUDIO PLAYBACK When using the Acadia audio system Vision uses fixed voice allocation for digital audio playback This means that each Audio Instrument can play just one audio event at a time For instance if Audio 1 is playing an audio event and a second audio event is encoun tered also assigned to Audio l either in the same track or in another the second event will interrupt the first event Therefore if you want overlapping audio events to be played concurrently they must be assigned to different Audio Instruments which can reside in the Same or separate tracks COLUMNS IN THE AUDIO INSTRUMENTS amp ROUTINGS WINDOW The foll
251. ding 230 Opcode Systems Inc CHAPTER 20 Import Export Cornucopia 8 bits dithered Also produces an 8 bit file but if your original audio file is 16 bit and you export it as an 8 bit dithered file Vision dithers the file producing somewhat cleaner sounding audio TERMINOLOGY Dithering is a pro cess in which a tiny amount of random noise is added to the signal to reduce the very audible and undesirable distor tion that results whenever digital audio is requantized such as when a fileis reduced from 16 bits to 8 bits 16 bits Produces clean CD quality files that occupy more disk space than 8 bit files 16 bits dithered Also produces a 16 bit file but if your original file is 24 bit and you export it with this option Vision dithers the file If you use this option in conjunction with the DSP gt M ix or the File gt xport Audio M ix commands Vision will use a higher bit resolution in its internal calculations and will dither the final result before saving it as 16 bit 24 bits Produces very high quality results if you are exporting 24 bit files or if you are mixing 16 bit or 24 bit files Currently only users of Pro Tools 24 systems will be able to audi tion these files Channels Y ou can export audio in any of the follow ing mono stereo configurations Lf tenn el 2 e Mono Creates a single channel mono audio file e Stereo 2 mono files Creates two separate
252. dio Cr en Se NUMBER OF AUDIO TRACKS The number of simultaneous audio tracks you can play varies from system to sys tem In general you ll get more tracks if you have a fast CPU and hard disk and lots of RAM However the more sends plug ins and EQ bands you use the fewer tracks you ll get So how many tracks can you expect Well this could be anywhere from 4 to 64 tracks some users may get less others may get more As you will soon see in the following sec tions on The Performance Window pg 83 and The Buffer Size Dialog pg 87 there are many factors that can affect the number of possible audio tracks ee THE PERFORMANCE WINDOW Vision s Performance Window which is only available when using the Acadia audio system lets you monitor your resources for CPU hard disk and RAM To open the Performance W indow click the Performance Window button in the Control Bar see Figure 11 1 Figure 11 1 Performance Window The bars in the Performance Window indicate the status of the resources for each item The larger a bar grows the fewer the resources there are available The numbers in the right margin indicate the percentage of resources used If you run out of CPU or disk resources the corresponding alert light becomes lit indicating an audio performance error the window automatically opens if not already open Performance errors gener ally interrupt audio playback for an instant and in som
253. dio Events You can select portions of audio events to edit Selecting a Portion of a Single Audio Event To select a portion of a single audio event Select the Marquee tool by clicking its icon in the Graphic Window opf EARE ASNE 2 Move the cursor into the lower two thirds of the waveform the lower select region 3 Drag over the range you want to select i 4 Mouitar Melody Guid c Pad Guitar J I i 4 Guitar Me Figure 18 24 Selected Portion of a Single ES as outta Chd Audio Event Selected Region Vision amp Studio Vision Pro Audio Reference Manual 187 PART 5 Basic Audio Editing amp Playback You ll notice that when you select a por tion of an audio event the entire event becomes hollow and the range you drag across becomes highlighted as shown in Figure 18 24 Some editing commands such as Copy Cut etc affect only the highlighted range Other commands such as Quantize or Set Instrument operate on the entire hollow audio event Various editing operations are dis cussed throughout this manual Selecting Portions of All Audio Events in a Time Range To select portions of all audio events ina time range Select the I beam cursor by clicking its icon in the Graphic Window 0 Enel 1 ne The I beam selects audio events on all Audio Instrument in the selected track 2 If you wish to c
254. dio Instrument that uses playback Voice 1 F ollow through this example to learn how to record new audio events while monitor ing existing ones Q Enable an input in the Record Monitor Window and assign it to an Audio Instrument For this example assume you ve enabled Input 2 and assigned it to Audio Instrument 3 0 Record Monitor H 45 26 10 2 Clip Record File Available Instrument 2 Input 1 DNNADNNINNNANNN A D Guitar Audio 1 Input 2 Sonseesnneeess E O Bass 00 16 14 Audio 3 Input 3 ANNONNNNNNNNNNN A O vocal 1 Audio 6 MANANANNANANANE E O vocal 2 Audio 4 2 Look to see which Audio Instruments are used by the existing audio events For this example assume your audio events are assigned to Audio Instruments 1 amp 2 Audio Instruments Audio 2 m Ls Boe So ao eeo sen cre Audio Events Figure 14 5 Existing Audio Events assigned to Audio Instruments 1 amp 2 as shown in this Graphic Window Open the Audio Instruments Window to view the voice assignments The Audio Instruments Window is dis cussed completely in Chapter 15 DAE Audio Instruments In this example Audio 1 is assigned to Voice 1 and Audio 2 is assigned to Voice 2 Voice assignments If you were to record now you would only hear your live audio and the audio events assigned to Audio Instrument 1 That s because Audio Instrument 2
255. dio RAM buffer Vision uses the RAM buffer to store digital audio temporarily before sending it to your hard disk or before playing it Vision amp Studio Vision Pro Audio Reference Manual 351 PART 7 Menus To learn more about setting a buffer size and using the RAM Buffer Size dialog box see one of the following chapters depending on the audio system you re using e Acadia see The Buffer Size Dialog pg 87 e DAE see Allocating RAM to the Dig ital Audio RAM Buffer pg 99 SAMPLE RATE SIZE Choose this command to open the Set Session Sample Rate dialog box Select a Session Sample Rate and Size ession Sample Rate 44100 Sample Size Figure 32 11 Set Session Sample Rate Dialog Box Use the dialog box to set a session sample rate before you record The session sample rate is the sample rate that Vision uses to both record and play back audio NOTE Users of Pro Tools 24 can choose between 16 and 24 bits however all files should have the same bit depth Users of other audio systems should always use 16 bits Higher session sample rates produce better audio quality but use more disk Space because there are more sample points per second You can save disk Space by using alow sample rate but this degrades the sound quality To get the best audio quality you should record all of your sound files at the same rate as your hardware sample rate When you do this the sample rate
256. dio System Some manufactures on the other hand provide two different versions of their plug ins for connecting to either mono or stereo Usually these plug ins are named accordingly for instance DeN oiserM and DeNoiserS Vision represents plug in routings graphi cally in the Console Window as shown In Figure 7 6 1 Audio Instr MONO Plug In NONE no plug in Audio Instr MONO Li Plug In MONO Audio Instr MONO Le Plug In MONO IN STEREO OUT TER Audio Instr STEREO or MONO EE 1 See NOTE 1 Plug In STEREO Audio Instr STEREO or MONO See NOTE 1 Plug In NONE no plug in Figure 7 6 Graphic indication of stereo status NOTE A mono Audio Instrument can have stereo plug in inputs if the plug in above it contains a mono in stereo out plug in For more information see Using M ono Plug Ins pg 52 Using Stereo Plug Ins When assigning plug ins to a stereo Audio Instrument only stereo plug ins appear in the Plug In Selector pop up ae no plug in no plug in 21 Y Compressor Csterea Y Compressor2 Csterea sterea sterea sterea sterea sterea sterea steren stereo steren no plug in e F Figure 7 7 Stereo plug ins Using Mono Plug Ins When assigning plug ins to a mono Audio Instrument mono in mono out and mono in stereo out plug ins are available in separate columns from the Plug In Selector pop up no plug in
257. dio Teen channels in the Console Window please a see Assigning EQ pg 53 CG Click the small EQ Edit button for the desired console channel Vision opens an EQ Window for the con sole channel O Et for Audio 1 Figure 9 1 EQ Window Vision amp Studio Vision Pro Audio Reference Manual 69 PART 3 The Acadia Audio System You can have multiple EQ Windows open at the same time Option click another EQ Edit button from the Console W indow to display that channel s EQ settings in the current EQ Window this helps you cut down on the proliferation of open windows The title bar of each EQ Window displays the name of the assigned audio channel For instance the name of the window in Figure 9 2 is EQ for Audio 1 You can leave EQ Windows open while Vision plays auditioning different EQ templates and tweaking EQ parameters as desired was Figure 9 2 EQ Window Following is a description of the compo nents in the EQ Window EQ toggle main Click on this button to turn the EQ on and off for the displayed audio channel This toggle button is duplicated in the EQ area of the Console Window In addition to the main EQ toggle each of the four EQ bands have their own toggle In order for an individual EQ band to be heard both its toggle and the main toggle must be on
258. dio timing 413 creating audio harmonies 411 fixing wrong notes 408 stabilizing pitch fluctuations 410 using 408 Minimum duration in Strip Silence dialog 312 mix getting rid of silence 322 M ix command 316 358 resulting audio files 322 silence 322 using silence 323 zero crossings 181 M ix Acadia 316 All Enabled Outputs 318 Capture Post Outputs 318 Capture Pre Outputs 318 Output destinations 318 M ix DAE 319 M ix Audio on Capture 320 321 356 monitoring 78 example TDM 167 input in Record M onitor 28 119 TDM 166 thru mode 167 voice allocation 167 while recording 33 124 M ono in Audio Format dialog 231 mono in mono out Acadia 51 TDM 152 mono in stereo out Acadia 51 TDM 152 mono plug ins using Acadia 52 using TDM 152 mono vs stereo in Console 46 M ove M anual Conventions 5 M ove to F older File Management menu 294 M TC M achine Control Sync mode 325 multiple takes 33 123 M ute 277 Audio Instruments DAE 135 Audio Instruments window 40 EQ window 70 Plug In Edit window Acadia 65 Plug In Edit window TDM 154 muting audio events Graphic window 248 List window 250 444 Opcode Systems Inc Index Name Audio Instruments window 38 names of audio events 183 Next note M IDI to Audio dialog box 407 Process Note Until 416 417 418 No Change in Audio Format dialog 232 no send Send area 58 None Audio Preferences Acadia 90 Audio Preferences DAE 174 Normalize 89 358
259. disrupt your wave data and your sequence by shifting wavedata in 348 Opcode Systems Inc CHAPTER 32 The Audio Menu time or by editing outside of the selection region Read the user s manual that came with Sound Designer if you haven t done SO All Vision editing operations except Compact and Delete File are non destructive Editing sound files in Sound Designer Il however is a destructive pro cess If you edit a soundfile and you don t like your edit you ll have lost your origi nal data unless you made a backup copy of the original file Y ou can select an entire audio event for editing or just a portion of one Select an entire audio event in Vision by clicking anywhere in its upper select region Alternately you could select a portion of an audio event by clicking in its lower select region and dragging with the Mar quee or beam 2 Choose Audio gt Edit Soundfile If this is the first time you re using this command you will be prompted with a dialog box to locate Sound Designer II In the future Vision will remember where itis unless you move it If at some later time you want to open a different sample editing program with this com mand hold down the Option key when you choose it If Sound Designer II is already running it will become the active application Sound Designer II s Waveform Editing window opens to display all audio in the selected event s audio
260. ds with an output assignment which can be a hardware output or a bus CII E opCHORUS Plug Ins __ LEGEND FILTER main audio signal path P audio send signal path EQs amp Volume aa Fader 3 Audio Send Post Pan Fader flee Figure 7 2 Audio signal flow in a console channel In between the source and the output the Signal can be processed by plug ins and EQ and the signal can be routed to busses via sends Pay particular attention to the order of the components in Figure 7 2 While mute solo and volume affect signals sent to busses via sends pre and post pan only affects what Is sent to the output While EQs affect the signal after being processed by the plug ins a channel s Phase mode enabled in the EQ Area occurs before sends Sends to busses can be preor post taking advantage of or ignoring the plug in mod ules EQ settings and volume fader Plug ins are always applied in ascending numerical order 1 2 3 and then 4 Mono vs Stereo Signals The various components in an audio chan nel interact differently depending on whether the signal is mono or stereo Audio Instruments inputs outputs and busses can be either mono or stereo as specified in the Audio Instruments amp Routings Window However routing amono source to a stereo destination and vice versa has important ramifications for what happens to the audio si
261. dual audio events and export each of them as a separate individ ual audio file This has numerous uses including e Creating files for a sampler You can import a track from an audio CD separate it into different audio events and save each of those events to its own file Then in a dedicated sample editing program you can send those files to an external sampler e Creating audio for the web CD ROM QuickTime etc Y ou can create sequences that con tain short audio segments dialog sound effects and so on then select any one of those segments to export as an audio file for use in web pages CD ROM games QuickTime movies etc Vision amp Studio Vision Pro Audio Reference Manual 225 PART 5 Basic Audio Editing amp Playback To export individual audio events 4 Click the Audio Format dialog s OK button Select one or more audio events In this example we selected the 1st 3rd and 4th audio events Vision opens a Save As dialog box Export into new folder fi Desktop Y Macintosh HD Sequence A Track 1 Eject Macintosh HD _ s Select Macintosh HD Choose File gt Export Audio Events Available 299 3 MB Vision opens the Audio Format dialog e box Audio Format Use the dialog box to navigate to the File format folder in which you wish to save the Compression new audio files Sample rate The bott
262. e enter a name folder destination and file type AIFF or Sound Designer Il 4 Send an audio signal to your digital audio interface or to the sound input jack of your Macintosh and watch the on screen LEDs to set an optimal input level 5 Enable any other desired options Options include audio thruing auto com pacting and designating the sample size in bits 6 Assign a mono Audio Instrument to the audio you re about to record 7 Leave the Record Monitor Window open then go to the Tracks Window The Record Monitor Window must be open in order to record audio With the Tracks Window active CG Record enable a track In the Control Bar select the desired record mode If you are about to record an audio event the Record Mode display contains a small digital audio icon 3 In the Control Bar either set a Countoff or select Wait for Note Vision amp Studio Vision Pro Audio Reference Manual 25 PART 3 The Acadia Audio System 4 Click the Record button in Vision s Control Bar If you chose Wait for Note either play a MIDI note click the Play button or press the Spacebar to start recording Begin playing or singing the material you wish to record When finished click the Stop button to stop recording The remainder of this chapter discusses the previous steps in detail ae O M RECORDING STEP BY STEP The following sections discuss in detail how to set up and
263. e stereo field See Outputs and Panning pg 62 If you have entered custom names for any of your outputs or busses from the Audio Instruments amp Routings Window they are reflected in the Output pop up The Output and Output Pair routings are hardware based They let you route audio signals to devices that are external to your computer such as signal proces sors mixers or power amps The Bus routings are software based out puts They let you route audio signals to other software based components within your computer such as plug ins and other console channels To preserve the stereo signal for stereo audio channels you must assign their out puts to a stereo bus or stereo hardware output As when routing signals to busses via sends the following rules apply e When outputting a stereo console channel to amono bus or output the Signal is summed e When outputting a mono console channel to a stereo bus or output the Signal is sent to both the left and right channels Vision amp Studio Vision Pro Audio Reference Manual 61 PART 3 The Acadia Audio System Outputs and Panning When Master Instrumentis checked in the Console Window s menu the vertical and horizontal faders are hard wired to volume and pan and always assigned to the same Instrument However with regards to audio console channels the pan horizontal fader is only displayed if e A mono audio channel s output is
264. e 18 Changing it in either location updates it in the other Clock Source In most cases as when recording from an analog input you will leave the Clock Source pop up set to Internal Vision amp Studio Vision Pro Audio Reference Manual 15 PART 3 The Acadia Audio System If however you are recording from a digi tal source like aDAT machine or digital multitrack you ll want to switch this pop up to the appropriate digital setting For details consult the manufacturer s docu mentation for your hardware Sound Manager If using the Sound M anager driver click the Open Control Panel button in the Hardware Setup dialog to access addi tional sound input options see Figure 3 4 gt Hardware Setup Device Sound Manage ro n Sample Rate 44100 Clock Source a r gt Open Control Panel Sound Manager Input Options Input Microphone Gain shift click for stereo Mi Play through O Automatic gain control Figure 3 4 Sound Manager Input Options In the Sound M anager Input Options dia log configure the following e The Input pop up determines the input source microphone internal CD etc for recorded material e The Gain faders left and right boost the input signal Hold down the Shift or Option key to adjust both faders at the same time Use the accompanying L and R input LEDs to monitor for an op
265. e 24 29 shows the plug in edit window for fusion VINYL a faced plug in Faced plug ins have much visually cus tomized user interfaces f INYL for Audio 1 H CONDITION i E Figure 24 29 Fusion VINYL plug in edit window Names of parameters for faced plug ins are not shown in the List Window or Strip Chart Instead parameters for these plug ins are referred to by number All avail able parameters from 1 to 1024 are accessible Vision amp Studio Vision Pro Audio Reference Manual 281 In addition the Copy Faders command includes values for all 1024 parameters of any faced plug ins Of course you can delete the values for any parameters that are not actually in use by the specified plug in Parameters that are not in use usually have values of 0 Using the Same Plug In Multiple Times A single plug in can be used more than once in the same sequence file Its appearance in the Plug in Parameter sub menu varies depending on how itis used u 0m 0 Peeve NNER If the Console looks like this then the Plug in Parameter submenu looks like this r STE C eus Figure 24 30 Source of Plug in Parameter submenu Both the opALIGN and opECHO plug ins are used twice in this configuration OpALIGN is used twice in the same audio channel so its two separate instantiations are given two different names opALIGN 1 and opALIGN 2 OpALIGN 1 refers to the lowe
266. e Input Range numericals For example a standard electric bass guitar has a pitch range from E1 to G4 But if you only played notes between E1 to A2 you can help the Audio to MIDI conversion by entering E1 and A2 into the Input Range numericals NOTE You can enter these numbers from a MIDI keyboard if that keyboard is enabled in Vision s Enable Input Devices dialog box D Click OK Vision analyzes the audio data and gen erates MIDI data which it places in the same track as the original audio file NOTE If you re not satisfied with the outcome of your Audio to MIDI con version modify some of these basic parameters and try again If you re still not satisfied with the conversion click the More Choices button to access all the Audio to MIDI parameters as dis cussed in The Expanded Audio to MIDI Dialog Box pg 400 The Basic Audio to MIDI Dialog Box Figure 39 2 shows a typical Audio to M IDI dialog box Notice that it s split in half Audio parameters are in the left half and MIDI parameters are in the right half yE Audio to MIDI Audio MIDI Vocals male 1 Instrument Nrd 3 6 Generate Notes Volume Pitch Bend 1 semitones O Brightness Instrument Audio 1 Input Range C2 to Cc Create new note if Fitch bend exceeds 12 semitones D Cremos Figure 39 2 Basic Audio to MIDI Dialog Box The f
267. e Mono and Stereo TDM support Studio Vision gives TDM users complete Studio Vision can use all three types routing access to all of their internal TDM of TDM modules mono stereo and plug ins external signal processors and mono in stereo out See M ono and SampleCell cards This chapter discusses Stereo TDM Plug Ins pg 151 using the TDM bus in Studio Vision e Output routing in consoles You can route Audio Instruments to hardware outputs or audio busses either from the Audio Instruments Window or directly from the Console Window See Audio Outputs Before reading this chapter you should be familiar with material in Part 5 Basic Audio Editing amp Playback and Part 6 Advanced Audio Techniques NOTE TDM plug ins from Opcode Pg Po Digidesign and other developers are dis Audio Send modules cussed in the documentation included with Each Console channel supports up to the plug ins four separate sends mono or stereo depending on the type of Audio Instrument See Audio Sends pg 158 Vision amp Studio Vision Pro Audio Reference Manual 147 PART 4 Digidesign DAE Configuration amp Recording a 16 audio busses CREATING A CONSOLE WITH Studio Vision contains 16 internal audio busses for TDM users These TDM PLUG INS busses can be used either as Audio Instrument outputs as discussed in Audio Outputs pg 155 or as Audio Send destinations as discussed in Use one of Studio Vision
268. e are 80 bits to a SMPTE frame 6 Use the following formula to calculate an appropriate play offset value in samples N is the number of SMPTE bits arrived at in the previous step play offset 44100 N 2400 If we use 30 bits for N your optimum play offset would be around 551 samples NOTE Some users may find after record ing with an accurate Record Offset that a Play Offset is not needed NOTE If you intend to do most of your audio work at 48k you can perform the previous examples with that rate J ust make sure to use a value of 48000 instead of 44100 in the equation at the end of each procedure 94 Opcode Systems Inc Digidesign DAE Configuration amp Recording ision amp Studio Vision Pro Audio Reference Manual 95 PART 4 Digidesign DAE Configuration amp Recording 96 Opcode Systems Inc CHAPTER 12 DAE Hardware Setup Read this chapter to learn how to set up Vision to work with your Digidesign audio hardware including Pro Tools Pro Tools Project Session 8 Sound Tools II and Audiomedia II II ABOUT DAE Digidesign hardware uses DAE software to control it DAE stands for Digidesign Audio Engine DAE was created by Digidesign and provides a method for playing and recording multiple tracks of digital audio using Digidesign hardware Vision controls DAE and DAE in turn controls the audio hardware SOME MACINTOSH MODELS ARE INCOMPA
269. e channel or as a record source in the Record M onitor For instance stereo Audio Instruments can only stereo plug ins and should be assigned to stereo outputs also if you re routing stereo audio channels to a bus make sure it is a stereo bus and if you re attempting to record with Link Pairs checked you ll need to record from a stereo source Audio Instrument input or output or bus to a stereo Audio Instrument Clicking in the Stereo column works a little differently for inputs and outputs as opposed to Audio Instruments and busses O0 A Audio Instruments amp Routings _ 9 amp p Instruments Internal CD L h no output o no output o Internal CD R f 7 Outputs Sound Manager L s Sound Manager R Click in Stereo column to turn mono input pairs into a single stereo input pair Sound Manager Figure 6 7 Stereo input pair H ardware Inputs and outputs can appear in the Audio Instruments amp Routings Window as either mono or stereo pairs For instance if your audio interface has just two outputs 1 2 they can act as indi vidual mono outputs or they can act as an output pair not both Therefore placing a checkmark in the stereo column for Output 1 or Output 2 turns them into an output pair Output 1 2 and in the pro cess makes them unavailable as mono outputs Vision amp Studio Vision Pro Audio Reference Manual 41 PART 3 The Acadia Audio
270. e data Pitch Bend Audio to MIDI conversion is discussed in detail in Audio to MIDI pg 396 D Click OK Unless you disabled its display in the DSP Preferences dialog discussed on page 423 Vision opens a Save As dialog box Select the type of audio file you wish to create name it and select a volume or folder in which to store it Click Save Audio Vision creates a new audio file and e places a new audio event in your sequence This new audio event sounds exactly like your original audio event but with all the pitch bend wobble removed from the vocal Vision amp Studio Vision Pro Audio Reference Manual 411 PART 7 Menus 3 In the MIDI track that Vision 6 Choose DSP gt MIDI to Audio generates use standard MIDI editing Unless you disabled its display in the techniques to create a harmony part DSP Preferences dialog discussed on page 423 Vision opens the MIDI to Audio dialog box 7 Check the Notes option and leave the other options unchecked Since you only created new MIDI notes there s no reason to apply any other types of MIDI data to the audio edit Use Selected MIDI Notes o Di velocity O Ooue a Pitch Bend Delete the original MIDI notes leaving only the newly created harmony notes Click OK Unless you disabled its display in the DSP Preferences dialog discussed on page 423 Vision opens a Save As dialog box
271. e dialog box contains many ele ments These are discussed in the following sections Silence Threshold Use the Silence Threshold numerical to set the noise floor for the Strip Silence Slice Audio operation in decibels You can set this number between 96 dB and 0 dB When using Strip Silence values close to 96 dB will strip away very little if any audio since even the slightest amount of noise will be above the noise floor Values close to 0 dB will strip away nearly all of the audio Generally a value between 40 dB and 20 dB is appropriate for most applications When using Slice Audio values close to 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 27 8 when you change the Silence Threshold Vision illustrates it graphically in the audio wave form display Strip Silence Silence threshold 12 dB Minimum duration 100 msecs Attack time 20 msecs Release time 20 msecs 1 A Silence Threshold of 12 dB is indicated graphically by the horizontal lines in the Graphic Window s waveform display 2 Audio that stays in this region for at least the amount of time specified by the a Minimum Duration parameter will be silenced Figure 27 8 Graphic Feedback of Threshold Level As an experiment enter a different value in the Silence Threshold numerical and preview the effect in the
272. e has playback precedence when multiple audio events on the same Audio Instrument overlap The reason for this is that in fixed voice allocation mode you can assign only one playback voice to an Audio Instrument unless it s a linked stereo event 202 Opcode Systems Inc CHAPTER 19 Basic Digital Audio Playback This situation occurs across tracks For example look at Figure 19 8 audio events on as tracks Tempo 140 00 Te Tempo 140 00 gi aaen Bass 128 Audio 1 aii atte eas 128 Audib 1 ENE EEE ENE Eo but assigned to the same Audio Instrument Figure 19 8 Overlapping audio events use the same Audio Instrument on different tracks Notice that the sequence contains two audio events on separate tracks but assigned to the same Audio Instrument In this example the audio event in Track 1 plays for the first two bars but stops abruptly at the beginning of Bar 3 when the audio event on Track 2 begins to play instead IMPORTANT TIP Thisisan important point to remember for troubleshooting If you re looking at a Graphic Window and you hear one audio event step on another yet you don t see any overlapping events it s probably because the offending audio event isin a different track If you want Vision to play multiple audio events simultaneously see Playing M ulti ple Audio Events
273. e ins fade outs The following sections dis If you don t want Vision to generate cuss just some of the possible techniques any fade ins when you process the audio uncheck this box For exam ple if you may want to create only Creating Automatic Fade outs crossfades or fade outs then disable To create a fade out whose length is the fade in option based on your selection Fade Out Length Enter the desired fade out length If the Set fade crossfade lengths pop up atthe top of the dialog box issetto use selection range then this field is disabled since it s set automatically to the length of your audio selection Fade out Shape Select the desired fade out shape linear or exponential from this pop up menu The choice you make Is indicated graphically in region Fade out Illustration Illustrates the fade in shape chosen by pop up menu Select the last part of an audio event or events Choose DSP gt Fade Crossfade Unless you disabled its display in the DSP Preferences dialog discussed on page 423 Vision opens the Fade Crossfade Settings dialog box Vision amp Studio Vision Pro Audio Reference Manual 371 PART 7 Menus From the top pop up menu select use selection range Fade Crossfade Settings Set fade crossfade lengths use selection range When you do this Vision automatically assumes your selection is the
274. e instances stop it entirely Encountering a performance error while recording will interrupt recording Vision amp Studio Vision Pro Audio Reference Manual 83 PART 3 The Acadia Audio System CPU Resources The yellow CPU bar in the Performance Window indicates the percentage of pro cessing resources in use by Vision If you are running low on CPU resources there are anumber of things you should keep in mind First off make sure you are using a PowerM ac with Level 2 cache With older PowerM acs this option was an actual card more recent PowerM acs usually have this option built in to the motherboard If you are using lots of plug ins and EQs you can check this in the Audio Instru ments amp Routings Window try using the effects more economically For instance instead of assigning up to 4 plug ins for each console channel try bussing groups of console channels to shared plug ins see Chapter 10 Acadia Bussing Rout ing amp Bouncing to Disk And although it is tempting to use lots of EQ bands for your audio channels see if you can get by with one or two bands per channel or even try disabling EQ on some channels this might just improve your mix One very effective way to preserve resources is to bounce audio channels to disk If you have plug ins and EQs on your channels and are happy with the mix simply record the output of these Audio Instruments or groups of Audio
275. e remainder of the audio event you trim or the increased portion of the event you lengthen remains at the event s origi nal location in time relative to other audio events and M IDI data in the track Y ou cannot lengthen audio events beyond their original lengths as determined by recording mixing or importing For example if the original audio event was two bars long trimmed audio events that derive from that original event cannot be lengthened beyond two bars HINT If you have recorded multiple takes into a single audio file and you wish to extend an event beyond the limits of the original take simply import the entire audio file into Vision Trimming To trim the right edge of an audio event O Move the cursor into the upper or lower right corner of the audio event The cursor turns into a Right Trim Cursor Right Trim Cursor _A Drag the mouse to the left Vision trims off the ending of the audio event S J T e s Event ending trimmed after dragging to the left q hal Vision amp Studio Vision Pro Audio Reference Manual 195 PART 5 Basic Audio Editing amp Playback To trim the left edge of an audio event Lengthening Move the cursor into the lower left To lengthen an audio event corner of the audio event The cursor turns into a Left Trim Cursor Move the cursor over the lower right corner of the audio event 3 5 T 5 ee ee ee ee ee ee lt Left
276. e there are fewer audio events to keep track of It also lets you freely move or copy the event even to places with different tempos and it makes it easier to edit the event in an external sample editing program such as Peak or Sound Designer II NOTE This option is disabled for the many DSP operations for which it does not apply in these instances all saves use the One Event method File Saving Option If you select multiple audio events to process this option determines how Vision saves the processed file s Specifically If you select numerous audio events then invoke a DSP operation that uses the Save All new events ina single file preference then Vision writes all the processed data into a single new audio file and all new audio events point to this single file This option creates fewer audio files but each audio file is referenced by numerous audio events as illustrated in Figure 41 6 426 Opcode Systems Inc CHAPTER 37 DSP Menu Premiere Plug Ins and DSP Preferences audio files but each audio file is 1 With the All option selected in the pop up menu smaller and is initially referenced by a SC a Single audio event as illustrated Save Atn new events in a single fle below 2 Select numerous events 1 With the Each option selected in the pop up menu 3 Invoke a DSP operation this example users Invert Phase 4 All processed events
277. e unused data from your disk by compacting the file It s up to you to keep track of audio files you ve recorded to your hard disk that are no longer referenced by any other Vision files Vision does not display these files even though they are actually on your hard disk Vision displays audio files in the File Management dialog box only for the active Vision file Several of the options in the File Management menu are designed to help you keep track of your audio files M uch information and many options are available in the File Management dialog box The following sections discuss all the features and functions of that dialog box VIEWING AUDIO FILE INFORMATION The File Management dialog box contains a line entry for each audio file referenced by the active Vision file f File Management B e SR Hz Chans Bits 44100 Mono 16 44100 Stereo 16 Column Headings Audio Files Bar Display The Bar Display The long rectangular bar displays graphi cally how audio data is used in each particular audio file Areas where the audio waveform is black indicate areas of the audio file that are used by the active Vision file Areas where the audio wave form is grey indicate unused data The more pockets of unused data you see in a file the more likely itis that you may want to compact or consolidate it as dis cussed in Organizing Audio Files pg 286 File Column This column displays the n
278. e values of Off and On Each of these EQ Band Parameters can be written for any EQ Band regardless of the band s type However it is important to recognize that not all parameters can actually effect each EQ type EQ types can be effected as follows Low and High Cut Low Cutand High Cut cannot be effected by the Gain or Width parame ters In the EQ Edit Window bands assigned to either of these types do not have Gain or Width sliders Low and High Shelf Low Shelf and High Shelf cannot be effected by the Width parameter In the EQ Edit Window bands assigned to either of these types do not have a Width slider Parametric The Parametric EQ type can be effected by all parameter types In the EQ Edit Window parametric EQ bands have all three possible sliders NOTE All EQ bands regardless of their type can be effected byEQ Band Type EQ Band Enable and EQ Band Frequency events Plug In Parameters The Plug in Parameter submenu lists all plug ins that are assigned to any audio channel in the sequence For example COT LEVEY LEN tne Console looks like thi opBOXDLY I se e console IOOKS IIKe IS then the Plug in Parameter submenu looks like this 4 Plug in Parameter Figure 24 24 Source of Plug in Parameter submenu Vision amp Studio Vision Pro Audio Reference Manual 279 After you select a plug in in the List window or Strip Chart another pop up m
279. e vocal performance To do so C1 Select an audio event and convert it to MIDI data Audio to MIDI conversion is discussed in detail in Audio to MIDI pg 396 2 In the MIDI track that Vision generates open a Strip Chart for pitch bend Audia 1 O pej ed ee oe Figure 39 9 Pitch Bend data generated by Audio to MIDI conversion 3 Using the Pencil tool and a flat curve shape draw a new pitch bend of value 0 I ert Pe Pt itch Bend In the Graphic Window s Ruler drag to select the time range you want to convert This selects all MIDI data notes and controllers plus all Audio data in the range Choose DSP gt MIDI to Audio Unless you disabled its display in the DSP Preferences dialog discussed on page 423 Vision opens the MIDI to Audio dialog box 410 Opcode Systems Inc CHAPTER 36 DSP Menu Audio to MIDI and MIDI to Audio Check the Pitch Bend option and Creating Audio Harmonies leave the other options unchecked Y ou can create custom harmonies using standard MIDI editing techniques then apply those harmonies to your audio data Since you only edited pitch bend you ll speed up the MIDI to Audio analysis by un checking the other unchanged types of MIDI data To do so Use Selected MIDI Select an audio event and copy it to ie a another track a Fr ne 2 Inthe new track select the copied ie eg audio event and convert it to MIDI a
280. each Audio Instrument the outputs must either be all left all right or all ste reo Specifically e fyou assign an Audio Instrument to an odd numbered output then all other output assignments for that Audio Instrument must also be assigned to odd outputs For example look at Figure 15 12 Since Audio 1 is already assigned to Outputs 1 and 3 odd numbers addi tional assignments can only be to Outputs 5 and or 7 In this example you cannot assign Audio 1 to Outputs 2 4 6 or 8 without disabling Outputs 1 and 3 e Ifyou assign an Audio Instrument to an even numbered output then all other output assignments for that Audio Instrument must be assigned to even outputs For example look at Figure 15 12 Since Audio 2 is already assigned to Outputs 2 and 4 even numbers additional assignments can only be to Outputs 6 and 8 In this example you cannot assign Audio 2 to Outputs 1 3 5 or 7 without disabling Outputs 2 and 4 e Ifyou assign an Audio Instrument to a stereo pair then all other output assignments for that Audio Instru ment must be assigned to stereo pairs For example look at Figure 15 12 Since Audio 3 is already assigned to stereo pair 5 amp 6 additional assign ments can only be to stereo pairs 1 amp 2 3 amp 4 or7 amp 8 In this exam ple you cannot assign Audio 3 to individual left or right outputs without disabling stereo pair 5 amp 6 If you ve added TDM support to your Session
281. ecord File _ Append To File strument Close My vocal aiff 2 Choose Close lt file name gt from the pop up menu Vision releases the record file and shows the name of the input s record file as none If desired you can now desig nate a new record file by selecting New Record File from the pop up Record File options menu The released file is still stored on your hard disk and if you have audio events In your current sequence that reference data in the file it will still be listed in the File M anagement dialog box For more infor mation about file management see Chapter 25 File Management 238 Opcode Systems Inc CHAPTER 21 Advanced Recording Techniques Appending Audio to Files Audio files can contain as much audio data as your hard disk allows Vision con tains numerous pointers to different sections of audio within a file These pointers tell Vision which portions of an audio file to play back and when To record more takes into an existing audio file rather than creating anew one for each take Q Press and hold the mouse on the Record File options icon Vision opens a pop up menu of Record File options Record Monitor Clip Record File ew Record File Available Instrument sve 2 Choose Append to File from the pop up menu Vision opens the Append to File dialog box which is basically a
282. ecording step by step 116 121 scrubbing 337 syncing 327 system requirements 97 DAE audio system 353 Default F older DSP Preferences 428 in Audio Recording Preferences 242 Deinterleave File M anagement menu 298 in Audio Format dialog 232 Deinterleaving 303 steps 303 Delete Bank Template Template pop up 67 Delete button File Management menu 297 Delete Program Template Template pop up 67 Delete Template Template pop up 73 Template pop up TDM 155 Device Hardware Setup 15 Dialogs DSP Preferences 424 Digidesign DirectlO 13 15 control panel 16 Digital Format Hardware Setup DAE 103 Disk I O Hardware Setup DAE 102 Disk Resources 85 D Display Names command 183 Dither Outputs Poe Audio Preferences Acadia 91 allocating RAM 99 ieee automation 20 maii Format dialog 231 Buffer Size setting 100 g importing audio 209 mere mixing 319 Toggle M utes 250 438 Opcode Systems Inc Index Done button Import Audio dialog Acadia 208 Import Audio dialog DAE 210 in Conversion Overview 306 Double click 5 Drag 5 dragging plug ins 49 DSP menu Adjust Audio Tempo 389 Audio to M DI 396 Convert Sample Rate 362 DSP Preferences 423 EQ 366 F ade Crossfade 369 Formant Shift 383 Invert Phase 55 361 M IDI to Audio 406 M ix 316 358 Normalize 89 173 358 Pitch Shift 380 Premiere Plug Ins 420 Reverse 359 Time Scale 386 DSP Preferences 423 Apply to 423 Audio Events 425 auto naming 428 Create unique filename
283. eform display options are e Fast which allows Vision to redraw waveforms fairly quickly a useful fea ture during recording sessions e High Resolution which if you are zoomed in enough displays wave forms in greater detail than Fast mode showing clearly the peaks and valleys of the waveform a useful fea ture during editing procedures e Off which displays a waveform as a rectangular bar This takes Vision vir tually no time to draw and is useful if you want to work extremely quickly and viewing the waveform is not a concern For details about each of these display options see Waveform Display pg 354 Waveform Height Options Vision gives you the ability to auto size waveforms and grow or shrink them These choices are available in the Audio gt Waveform Height submenu Waveform Height Automatic Grow Shrink Figure 18 11 Waveform Display Options The three waveform height options are e Automatic which directs Vision to draw waveforms to the height that Vision thinks best fit based on how many Audio Instruments are showing e Grow which increases the vertical height of a waveform Shrink which reduces the vertical height of a waveform For details about each of these display options see Waveform Height pg 353 Tip you can assign key equivalents to the Grow and Shrink commands in the Com mands Window See the MID Reference M anual description of key commands for
284. eloped by the first note This would cause the reverb tail between the end of the first note and the beginning of the second note to be too loud If you select the Next note option Vision attenuates the first audio note all the way to the beginning of the second MIDI note resulting in amore natural sounding reverb 416 Opcode Systems Inc CHAPTER 36 DSP Menu Audio to MIDI and MIDI to Audio EXAM PLE 2 Suppose you recorded a vocal perfor mance without any reverberation then performed an Audio to M IDI conversion as shown in Figure 39 12 Gap between MIDI notes occurs when audio level is low Singer s breath sound Figure 39 12 Audio to MIDI conversion of breathy vocalist If you change the pitch of the first M IDI note your Graphic Window looks as follows Now if you perform a M IDI to Audio conversion Vision changes the pitch of the first audio note from A to C This audio is unchanged This audio is pitch shifted to i Brae What happens to the audio in THIS range Figure 39 13 Pitch Shifted Audio Quandary 2 Look at Figure 39 13 What does Vision do with the area in question If you select the Next note option Vision pitch shifts the first audio note ALL THE WAY to the beginning of the second M IDI note regardless of how long the first MIDI note is This means the little breath that the singer takes before the second note cont
285. en cards or select multi ple cards Selecting multiple cards increases the number of simulta neous channels supported by Vision 102 Opcode Systems Inc CHAPTER 12 DAE Hardware Setup Interface This pop up menu determines which type of audio interface you are using Sample Rate Use this pop up menu to specify the hard ware sample rate Sync Mode From this pop up menu select Digital if you re syncing to a digital audio tape deck or other digital master clock source oth erwise leave this setting on Internal Digital Format Use the Digital Format pop up menu to select either AES EBU or S PDIF depending on which digital format you re recording Channel 1 2 Input This pop up menu specifies whether the inputs into Channels 1 amp 2 are Analog or Digital Other Options The Other Options button opens a dialog for configuring your audio interface 888 1 0 Interface Specifics If you have an 888 O Interface click the Other Options button to open an Input Select dialog box Ch 1 2 Ch 3 4 Ch 5 6 Ch 8 Analog O Analog Analog Analog Digital Digital Digital Digital Figure 12 8 888 I O Interface Options Use this dialog box to choose whether you want each 888 I O input pair to use analog or digital inputs 882 Studio Specifics If you have an 882 Studio Interface click the Other Options button to open a Rout ing dialog box for the 882 Studio i H2HEH4
286. en the first sequence file Go to the File Management window and choose Select All from the pop up menu 3 Choose Label from the pop up menu Make the following settings Change Label And Comment If the file doesn t already have a label Label E Project 1 If the file already has a label Label No Change Replace Comments Click OK Now all the files used by the first sequence are orange in the finder 5 Open the second sequence file 290 Opcode Systems Inc CHAPTER 25 File Management 6 Repeat steps 2 4 with the following settings Change Label And Comment If the file doesn t already have a label Label Mj Project 2 If the file already has a label Label E Hot Append Comments 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 third sequence file making the following settings Q Change Label And Comment If the file doesn t already have a label Label J Personal If the file already has a label Label RJ Hot Append Comments 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 only by the third sequence are blue All files used by more
287. ences so that they point to the new copied file Click ing Cancel will leave them untouched The process is slightly different if you select more than one file First you will be prompted with the dialog box shown In Figure 25 7 Then Vision asks you whether or not you want to replace event references for each of the files you copied individually For the first file the dialog looks like this Replace all audio event references to the original file 303 loop 1 140bpm with the new copy of the file Cancel All Replace All Click Replace to change the sequence s references to that single audio file so that they point to the new copied file Click Replace All to change the refer ences to all selected audio files so that they point to the new copied files Click Cancel to leave references to that sin gle audio file untouched Click Cancel All 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 on the list appears Replace all audio event references to the original file Audio 1 with the new copy of the file Figure 25 8 Copy to Folder dialog box Click Replace to change the sequence s references to that single audio file so that they point to the new copied file Click Replace Remaining to change the references to all remaining selected audi
288. enu appears to the right This menu dis plays the selected plug in s parameters For example if you select opE CHO you might see the following in the List window opECHO Dry Wet 0 000d Dry Wet is the default parameter because it is the first parameter of the selected plug in Clicking on Dry Wet will produce a pop up menu that contains the selected plug in s parameters 0 0000 Figure 24 25 Plug in parameter event in the List Window Ta Dry sitet Figure 24 26 Plug in parameters in the Strip Chart If you open the opECHO plug in edit win dow you will see that the parameters listed in the pop up menu correspond to the parameters of the opE CHO plug in opECHO for Audio 6 Plug in parameters Figure 24 27 opECHO plug in edit window Vision can automate up to 1024 parame ters per VST plug in Moving and Copying Plug In Automation Data Between Sequences Plug in automation data can be copied from one Vision file to another as long as the specified plug in is in both files Plug in automation data can also be copied to a new file if the specified plug in is in your Vision Setup file To include a plug in in your Vision Setup file simply assign the plug in to the appropriate audio channel in a Console and choose File gt Save as Setup For more information about the Vision Setup file see your MIDI Reference M anual 280 Opcode Systems Inc CHAPTER 24
289. eo bus as the record source in the Record M onitor Window IMPORTANT When recording from a stereo bus you must check Link Pairsin the Record M onitor Window When recording from a mono bus you should uncheck Link Pairsin the Record M onitor Window Recording from Outputs The example covered in Recording from Busses pg 81 illustrates assigning Audio Instruments to a single bus and then sub sequently using that bus as arecord source However you could just as easily have assigned the Audio Instruments to the same hardware output pair which could then act as the record source There really is no advantage to recording from busses as opposed to outputs either can be assigned to console chan nels with their own plug ins and EQs However it is very common for most users to start off by assigning the outputs of Audio Instruments to hardware out puts In these cases if you don t want to go to the trouble of reassigning ever y thing to a bus simply use the assigned hardware output as a record source Busses are more important with regards to grouping Audio Instruments for sub mixes For instance you could have a set of drum channels routed to Bus 1 and a set of vocal channels routed to Bus 2 each acting as a submix fader Then assign the output of these busses to either another bus M aster or a hardware output pair 82 Opcode Systems Inc CHAPTER 11 Acadia Optimizing for Digital Au
290. erences dialog discussed on for the crossfaded audio It creates one page 423 Vision opens a Save As or more new audio events to play that dialog box audio replacing the original audio event s in your sequence Audio 1 HD Eject Audia 1 Desktop Process event s into Cancel My Song 012xFade eae Space Needed 748K Available 866 5 MB on NOTE If you never want to see this O Bypass this dialog next time Save As dialog box again that is you Figure 35 9 Save As Dialog Box for always accept the default name and folder Crossfades click the Bypass this dialog next time option in the Save As dialog box When you crossfade audio Vision con structs a new audio file It leaves your Should you wish to makethe Save As dialog original audio file or files unaffected eappear choose DSP gt DSP Prefer ences select F ade Crossfade from its Apply to pop up menu then uncheck the Bypass Save As Dialog option 7 Use the File Format pop up menu to specify the desired file format AIFF or Sound Designer Il Vision amp Studio Vision Pro Audio Reference Manual 377 PART 7 Menus 378 Opcode Systems Inc CHAPTER 35 DSP Menu Pitch Shift Formant Shift Time Scale and Adjust Audio Tempo The DSP menu contains numerous algo rithms designed to process audio completely within the digital domain This chapter deals with the Pitch Shift Formant Shift Time Scale and Adjust
291. erences to the original file with references to the new file See Copy to Folder pg 291 for details After using Copy to Folder or Move to Folder you may want to command click on the file name to see the entire file path for verification See page 284 for details Rename The Rename command changes the name s of the selected audio file s in the Finder as well as in the File M anagement window The name of the file s will be changed but files remain in the same folder All ref erences in the sequence are updated to refer to the file s new name If only one file is selected when you choose Rename you will see the follow ing dialog box Enter a new name for file 303 loop 1 140bpm Flashy Loop Type the new name for the file The name iS updated in the File M anagement window as shown in Figure 25 13 The name of the file is also updated in the Finder H E File Management Figure 25 13 Flashy Loop in File Management Vision amp Studio Vision Pro Audio Reference Manual 295 PART 6 Advanced Audio Techniques If you select more than one file before choosing Rename you will see the following Enter a new name for file 303 loop 1 140bpm Flashy Loop Cancel All The file s new name can be typed into this dialog box Click Cancel All to leave the names of all selected files untouched Click Cancel to
292. erformance e Change the timing of your audio performance e stabilize a wobbling pitch e create completely different dynam ics timbres and feels e create bizarre new effects The following section discusses the indi vidual components of the M ID I to Audio dialog box Using the M DI to Audio Command pg 408 provides several step by step examples of how to use M IDI to Audio conversion 406 Opcode Systems Inc CHAPTER 36 DSP Menu Audio to MIDI and MIDI to Audio The MIDI to Audio Dialog Box When you select a time region that con tains both MIDI and Audio data then choose DSP gt MIDI to Audio Vision opens aM1DI to Audio dialog box as shown in Figure 39 8 unless disabled in the DSP Preferences dialog KMidi to Audia Use Selected MIDI Process Mote Until End of note 5 Motes 2 Velocity volume O Pitch Bend Pitch Shift Quality Faster O Q LI Maintain voice character patent pending Figure 39 8 MIDI to Audio Dialog Box The following is a list parameters con tained in the M IDI to Audio dialog box Use Selected MIDI Notes option Check this option if you want Vision to apply M IDI note changes to your original audio performance Use Selected MIDI Velocity option Check this option if you want Vision to apply changes in MIDI velocity to your original audio performance Use Selected MIDI Volume option Check this
293. ering volume the range from O to 127 represents to the Maximum Fader Position setting If you re altering pan the range from O to 127 represents pan from 100 00 to 100 00 with 64 representing 0 center NOTE For more on using the Faders Window see your MIDI Reference Manual ee SMOOTHING VOLUME AND PAN CHANGES Sudden changes in volume and pan can produce unwanted noise such as clicks pops or zips You can use the Audio Preferences dialog box to set parameters that will smooth out rapid changes in volume or pan therefore eliminating these unwanted noises See page 174 for DAE users or page 90 for Acadia users Vision amp Studio Vision Pro Audio Reference Manual 261 PART 6 Advanced Audio Techniques 262 Opcode Systems Inc CHAPTER 24 Automation This chapter discusses Vision s automa tion capabilities In this chapter you will learn about e how automation events work e recording automation events e viewing and inserting automation events e using the Copy Faders command e types of automation events WHO SHOULD READ THIS CHAPTER Everything in this chapter applies to Acadia users The M utes and Solos Audio Volume and Audio Pan sections apply to DAE users In addition the Send Levels and Plug In Bypass sections apply to Studio Vision Pro owners with TDM hardware This chapter also contains some informa tion about M IDI events which apply to all a
294. es Yolume Absolute O Pitch Bend 1 semitones oO Brightness 6 aa 73 Instead of generating notes Use Selected Notes Generate New Velocities Fewer choices Cancer ox _ Figure 39 3 Expanded Audio to MIDI Dialog Box Figure 39 3 shows a typical expanded Audio to M IDI dialog box and its extra parameters These are Create new note if parameters Use these parameters to help Vision decide when to generate new MIDI notes There are three parameters involved in this process as indicated More Choices button Click this by the border around them button to expand the Audio to M IDI Pitch Bend exceeds numerical dialog box to see the entire parameter This was described in Item of The set Use the entire parameter set to Basic Audio to M IDI Dialog Box fine tune the conversion process or to pg 398 create your own Audio to M IDI Note length exceeds pop up templates For more information see menu Use this pop up menu to fine The Expanded Audio to MIDI Dialog tune your conversion algorithm by Box pg 400 removing spurious notes created by 400 Opcode Systems Inc CHAPTER 36 DSP Menu Audio to MIDI and MIDI to Audio the Audio to M IDI algorithm This parameter is discussed in detail in Using the Note Length E xceeds Parameter pg 402 Pitch is stable for pop up menu This pop up menu tells the conver sion algorithm to generate a M IDI note if the audio s fluctu
295. es games etc Vision amp Studio Vision Pro Audio Reference Manual 227 PART 5 Basic Audio Editing amp Playback ANATOMY OF THE AUDIO FORMAT DIALOG BOX Variations of the Audio Format dialog box are used by many of Vision s Export and Save As operations Audio Format File format Compression Sample rate 22 050 v Sample size 8 bits F Channels Mono Normalize Prevent Clipping Output file size 338K C Bypass this dialog next time Figure 20 14 Audio Format Dialog Box The following sections discuss in detail all the various elements in a generic Audio Format dialog box Not all options appear in all Audio Format dialog boxes NOTE Vision remembers two different sets of Audio Format parameters M ix for mats and Export formats This is because in practice your exported files will gener ally bein a different file format than your work in progress M ix files Exported files will usually use some audio format suitable for general distribution as required by QuickTime the internet CD ROM etc M ixed files will usually use a format required by the audio hardware employed in its development File Format Y ou can export audio in any of the follow ing file formats File format Sound Designer HH WALE Sun au AIFF Audio Interchange File For mat This popular format is supported by both the M acintosh and Windows platforms Sound De
296. etain 343 Sample Rate Size 352 Separate 344 Session Sample Rate 18 Strip Silence Slice Audio 346 Unlink Events 350 Waveform Display 182 354 Waveform Height 182 353 audio pan 276 fader 257 260 Faders window 270 in List window 255 in Strip Chart 256 Audio Preferences 356 Audio Preferences Acadia 88 Dither Outputs 91 F ade duration 90 Maximum Fader Position 89 M edium 90 None 90 Play Offset 92 Process While Stopped 91 Sharp 90 Smooth 90 Smooth Audio Controllers 90 Audio Preferences DAE 173 end to end onto one track 174 Fade duration 174 Import M ultiple Files 174 M aximum Fader Position 173 M edium 174 None 174 onto multiple empty tracks 174 Sharp 174 Smooth 174 Smooth Audio Controllers 174 Audio Recording Preferences 240 Apply to 240 Create unique filenames by concatenating 242 Default Folder 242 Save All new takes in a single file 240 Save each new take in a separate file 241 Save with sequence files 243 audio signal flow in Consoles 46 Audio System 353 A 353 Audio Templates Audio to M IDI dialog box 405 audio tracks number of 83 audio volume 276 fader 260 faders 257 Faders window 270 in List window 255 in Strip Chart 256 in the Strip Chart 270 Audiomedia II I 99 Record M onitor 113 Audio to M IDI dialog box Audio Templates 405 basic 398 400 Opcode Manual Template 435 Index expanded 400 402 Generate new velocities 403 Note Length Exceeds 402
297. event names initially default to the name of the associated audio file or region However you can rename audio events for easier identification When you re working in a List Window simply click the audio event name in the list and type anew name When you re working in the Graphic Win dow you name audio events in the Audio Event Info dialog box To do so Click an audio event to select it The waveform becomes hollow Choose Audio gt Get Event Info Vision opens the Audio Event Info dialog box Audio Event Info Event Name Du litigibasses illll l nnn Duration 4 07 secs eling basses 22050 s Channels Sample Start 0 e Size 16 bits Sample End 179480 Figure 18 15 Audio Event Info Dialog Box Alternately if Display Event Names is enabled you can open the Audio Event Info dialog box by positioning the cursor over the audio event name it becomes a question mark and clicking 3 Click in the Name field and type a new name for the audio event The rest of this dialog box displays infor mation about the particular audio event Click the OK button Vision renames the audio event SELECTING AUDIO EVENTS Selecting Entire Audio Events You can select entire audio events in e the Graphic Window e the List Window e the Tracks Window Track Overview area The following sections discuss the method used for each window Graphic Window Selection To select an entire audio eventina G
298. f the signal you re sending to Vision To obtain the best signal to noise ratio adjust the signal so that its peak ampli tude is as high as possible but below 0 dB In digital recording you cannot record above 0 dB without clipping the audio Generally you ll adjust the input level on your mixing console AUDIOMEDIA If you re using an Audiomedia card the Record Monitor Window has an additional input level control that you can use to set input levels Avoid Clipping If the amplitude of the audio signal exceeds 0 dB the waveform becomes chopped off and flat like a square wave and the audio will sound buzzy and dis torted This is called clipping which you will most always want to avoid If you re accustomed to analog recording you ll soon notice that digital clipping is harsher and much less tolerable than analog clipping If you clip the volume so the amplitude exceeds 0 dB the Record M onitor s clip ping indicator lights at that moment After the level recedes the clipping indicator remains lit to remind you that you clipped the input level and you should go back and adjust it Clipping Indicator Record Mon Input SR C When you re ready to try a different input level you can clear the clip light by click ing anywhere in the record level indicator 118 Opcode Systems Inc CHAPTER 14 DAE Recording Audio Monitor the Input If you re recording directly in
299. fer is used to store digital audio temporarily before recording it to your hard disk or before playing it IMPORTANT Don t confuse the digital audio buffers with the Vision s application RAM The audio buffers determine the amount of RAM dedicated to temporarily storing digital audio the application size determines the amount of memory dedi cated to Vision When you configure the Buffer Size dialog Vision attempts to use your System RAM for the digital audio buffers but if you ask for more RAM than is available it will use the RAM allocated to Vision File Buffers There are two pop ups that determine the size and number of file buffers The File Buffer Size pop up determines the buffer size 256k 512k 768k or1024k used for each Audio Instrument channel When using larger buffer sizes your M acintosh will store more digital audio in RAM and will not need to access your hard disk as often The File Buffers pop up determines the number of file buffers 2 3 or 4 used for each Audio Instrument channel Again the more file buffers you use the less fre quently the disk is accessed If you are running out of CPU or disk resources as determined by the Perfor mance W indow see page 83 try increasing the File Buffer Size If after reaching a buffer size of 1024k you are still encountering performance errors try then increasing the number of File Buffers Still other users may find that they get better resu
300. ference Manual 367 PART 7 Menus Slope Use this pop up menu to select how steeply the filter is applied once the selected Frequency is reached Slope Gradual E Hedium Steep Very Steep The four Slope choices are shown in graphically in Figure 35 2 Filter frequency as set in the Frequency numerical AMPLITUDE FREQUENCY Gradual Medium Steep Very Steep Figure 35 2 Filter Slopes shown on a Low Pass Filter NOTE Slope and Q Factor are related increasing the slope also increases the Q Factor If you apply a high Q Factor and a steep slope you may hear unwanted audio resonances Frequency Use this numerical to set the filter s corner frequency This is the frequency at which the selected filter type kicks in as shown in Figure 35 2 4 Q Factor Use this numerical to set the amount of resonance applied at the selected Frequency Resonance emphasizes the harmonics that are closest to the filter s specified Fre quency as shown in Figure 35 3 Pe High Q Factor emphasizes har monics near the corner Frequency AMPLITUDE FREQUENCY Figure 35 3 Effects of Q Factor Parameter NOTE Q Factor and Slope are related increasing the Q Factor also increases the Slope If you apply a high Q Factor and a steep slope you may hear unwanted audio resonances 368 Opcode Systems Inc CHAPTER 34 DSP Menu EQ and Fa
301. files will return to using the automatic names discussed in item Default Folder This button opens a standard Save As dialog box in which you specify the default file format and the default folder in which all processed files of the specified type are stored Select a folder c Audio 1 HD Select Audio You can select to save all files in either AIFF or Sound Designer I format When you ve navigated to the desired folder click the Select folder name button to make it the default its name will appear under the Default Folder button in the DSP Preferences dialog box Default Folder audio Name of current default folder TIP This feature along with the auto naming options discussed in item is particularly useful if you check Bypass Save As Dialog discussed in item since it lets you define a default storage location and file type eliminat ing the need to constantly see Save As dialog boxes after invoking DSP Operations Auto naming options Use these two pop up menus to spec ify exactly how you want each DSP operation to automatically name the new files that it creates Create unique filenames by concatenating Document Mame DSP Operation Unique Mumber Example My Song Flugin 001 Opcode Systems Inc CHAPTER 37 DSP Menu Premiere Plug Ins and DSP Preferences You can specify both a default prefix and a default suffix To specify the pre
302. fix select it from the left most pop up menu as shown below Create unique filenames by concatenating Sag DSP Operation Unique Number Plugin OO1 Document Name Sequence Name Track Name Audio Instrument Cl udio Event Name f files Cancel Custom Prefix To specify a default suffix select it from the right most pop up menu as shown below Create unique filenames by concatenating Document Name DSP Operation a Example My Song PYF ile Type Date Custom Suffix O Save with sequence tE f Unique Number You can enter a custom prefix and or suffix by selecting the Custom option from either pop up menu Enter a custom prefix maximum 16 characters dovie Score Cancel The area below the pop up menus always shows an example of how your default file names will appear Create unique filenames by concatenating udio Event Name E File Type Unique Mumber Example Loop Supreme 001 aitf Example of how file names will appear TIP This feature along with the default folder options discussed in item is particularly useful if you check Bypass Save As Dialog discussed in item since it lets you define a default filename eliminating the need to constantly see Save As dialog boxes after invoking DSP operations NOTE If you don t check the Bypass Save As Dialog option you can always overwrite the naming defaults whenever a Save As dialog
303. g discussed on page 423 Type a name for the normalized audio file By default Vision suggests a name based on the auto naming options you specify in the DSP Preferences dialog discussed on page 423 Click Save Vision creates a new audio file or files for the normalized audio It creates one or more new audio events to play that audio replacing the original audio event s in your sequence NOTE If you never want to see this Save As dialog box again that is you always accept the default name and folder click the Bypass this dialog next time option in the Save As dialog box Should you wish to make the Save As dialog reappear choose DSP gt DSP Prefer ences select Normalize from its Apply to pop up menu then uncheck the Bypass Save As Dialog option REVERSE Choose this command to reverse the play back order of samples in the selected audio This is exactly the same as playing an analog tape backwards Audio prior to reversing Audio after reversing Figure 33 4 Example of Reversing Audio Vision amp Studio Vision Pro Audio Reference Manual 359 PART 7 Menus To use the Reverse command CG Select the audio event s or portion of events you wish to reverse Choose DSP gt Reverse Unless you disabled its display in the DSP Preferences dialog discussed on page 423 Vision opens a Save As dialog box Audio 1 HD Desktop Process event
304. g movie if that you plan to export as a QuickTime movie Opcode recommends that you always score the movie using a General MIDI Module rather than Apple s Quick Time Musical Instruments For more information see the MIDI Reference M anual for details on General MIDI you want to replace all the audio and or MIDI tracks in an existing movie with the exported data This option replaces data only of the type being exported For example if an existing QuickTime movie contains both audio and MIDI but you export only audio data then all the existing file s audio tracks are replaced by the exported audio The existing MIDI track however remains untouched 222 Opcode Systems Inc CHAPTER 20 Import Export Cornucopia Export MIDI option Uncheck this option if you wish to exclude M IDI data from the export operation Check this option to export all MIDI data in the selected sequence to a QuickTime movie s M usic Track When you export M IDI data your QuickTime file contains a single new M usic Track Internally that track contains separate M IDI channels for each channel you exported Export Audio option Uncheck this option if you wish to exclude digital audio data from the export operation Check this option to mix and export all the audio events in the selected track s to a QuickTime movie s Sound Track When you export audio all the selected audio events are mixed into
305. g the MIDI to Audio command In this way you can e fix wrong notes in your audio performance e add harmony parts to your audio performance e create completely different dynamics timbres and feels e Change the timing of your audio performance e create bizarre new effects e Add feel to your MIDI performance You can sing along with your MIDI notes and apply the volume bright ness and pitch bend changes derived from your voice to your MIDI performance Using the Audio to MIDI Command F ollow through this example to learn how to use Vision s Audio to MIDI command Select an audio event Choose DSP gt Audio to MIDI Vision opens the Audio to MIDI dialog box This dialog box is discussed com pletely in The Basic Audio to MIDI Dialog Box pg 398 E Audio to MIDI Audio MIDI Vocals male Instrument Audio 1 Instrument Nrd 3 Input Range C2 to C7 Generate Notes Create new note if Volume Fitch bend exceeds 12 semitones Pitch Bend 1 semitones O Brightness Figure 39 1 Basic Audio to MIDI Dialog Box From the pop up Audio Template menu select the type of audio contained in the file you wish to convert Audio to MIDI Audio MIDI Bass picked Instrument Audio 1 Instrument Nrd 3 For example if you recorded a picked electric bass guitar and
306. g the mouse button drag the cursor over the desired Audio Instrument to select it highlighting it In this example recording is from a mono source Therefore you ll want to select a mono instrument For more information about mono and stereo instruments see Stereo Audio Chan nels pg 139 3 Release the mouse button Vision will assign the audio event that you record to the selected Audio Instrument You can change Audio Instrument assign ments any time in the future Vision amp Studio Vision Pro Audio Reference Manual 119 PART 4 Digidesign DAE Configuration amp Recording To learn how to assign outputs to an Audio Instrument see Output Assignment pg 142 Record a Track Now that you ve set a record level and designated one or more files into which you want to record the audio you re ready to record a track TEMPO TIP If you have any MIDI data recorded make sure you re happy with the sequence s tempo Although you can change the audio s playback tempo using the DSP gt Adjust Audio Tempo command it s always easier to do it right the first time rather than fixing it in the mix To record an audio track Leave the Record Monitor Window open The Record Monitor Window must be open in order to record audio into Vision 2 Inthe Tracks Window click the R column to record enable a track just as you do when you record MIDI Piel c
307. gating audio 308 vs Slice Audio 310 Strip Silence dialog 311 Attack time 313 Minimum duration 312 Release time 313 Silence threshold 311 Strip Silence Slice Audio command 346 submix creating 76 example 163 Sun au in Audio Format dialog 228 SuperClock 327 Sustain audio across segments 194 Sync M ode Hardware Setup DAE 103 Sync mode External Beat Clock 325 Internal 325 M IDI Time Code 325 M TC M achine Control 325 syncing Acadia 326 Opcode Manual Template 451 Index Lock Audio to Tape 326 syncing DAE 327 hardware sync 327 Lock Audio to Tape 327 SuperClock 327 system requirements DAE 97 T takes multiple Acadia 33 multiple DAE 123 recording in different files 237 TDM 147 assigning plug ins 150 creating a Console 148 149 mono stereo plug ins 151 using mono plug ins 152 using stereo plug ins 151 Template Plug In Edit window Acadia 64 66 Template Functions pop up EQ window 70 Template pop up Copy Bank 67 Copy Program 67 Copy Settings 73 Delete Bank Template 67 Delete Program Template 67 Delete Template 73 EQ window 70 Import Bank 68 Import Program 67 Load From 73 Load Templates From 68 Paste Bank 67 Paste Program 67 Paste Settings 73 Save as Default 73 Save Bank 67 Save Bank As 67 Save Bank as Default 68 Save Program 67 Save Program As 67 Save Settings 73 Save Settings As 73 Template pop up TDM Copy Settings 155 Delete Template 155 Export Settings 155 Import Se
308. gers so that Show Masking Tape option under the their voices blend together nicely Console Window menu has been enabled and names have been added to Relative volumes set the Console strips For details about Show Masking Tape please see the Console Window chapter of your MIDI Reference M anual Vision amp Studio Vision Pro Audio Reference Manual 163 PART 4 Digidesign DAE Configuration amp Recording N ow that the voices sound good with each Assign the output of the bus to your other you ll want that mix to work as a main L R outputs single unit within the context of the entire song To do so ee oF 3 In an undefined console channel select a bus from the bottom Input selector a a m eS Ee ee IT eae Msida Marion _ Output 1 Bust bus output assignment 6 From the Console Window menu choose to display some TDM Inserts or Audio Sends Newly created bus Console Channel Width Audio Sends gt TDM Inserts a None 1 Plug In Show Selected Fader Infowirag URE Show All Fader Info 3 Plug Ins Show Remote Devices 4 Plug Ins 4 Assign the outputs of all three singers channels to the newly created bus Fader Remotes Enabled v Master Instrument Console Name Build Console From gt Clear Console Outputs assigned to a bus 164 Opcode Systems Inc CHAPTER 16 TDM Bussing Routing amp
309. gidesign hardware play back the Sound M anager audio preview of Pre miere plug ins 420 Opcode Systems Inc CHAPTER 37 DSP Menu Premiere Plug Ins and DSP Preferences To apply a Premiere plug in to an audio event Select the audio event s or portion of events you wish to modify Choose DSP gt Premiere Plug ins Vision produces a submenu showing the name of every plug in installed in the Audio Plug ins folder located as shown in Figure 41 2 on page 420 gt Filter pr debug Vinyl pr Yocode pr WaveShell P 2 3 3 Premiere Plug Ins DSP Preferences Select the desired plug in from this submenu Unless you disabled its display in the DSP Preferences dialog discussed on page 423 Vision opens an edit window for the selected plug in Each plug in has its own unique edit window The following example shows the edit window for Opcode s fusion VOCODE 2 I Preview I Bypass ii Lo Fi Setup A Copy toB QI h Cancel OK Figure 41 3 Edit Window for Opcode s fusion VOCODE Plug in 4 Edit the parameters within the plug ins edit window Most Premiere plug ins including all Opcode plug ins include their own doc umentation which will teach you about the various features within that plug in To preview your edits click the plug ins Preview button NOTE All Opcode plug ins support audio preview but some 3rd party plug ins may not Pre
310. ginal audio events from your sequence After doing a mix you might want to remove the original files from the File Management Window s list or delete them as discussed in Compact pg 286 MIXING SILENCE The blank regions that exist between audio events contain no audio data and therefore require no disk Space as shown in Figure 28 5 i Blank Regions silent since there is no digital audio Audio Events Figure 28 5 Blank Regions When you mix a range of audio Vision creates silent digital audio for the blank regions that exist between audio events This can result in a mixed audio file that s larger than the combined length of the original audio files as shown in Figure 28 6 Audio 2 Original Audio Events Mix Range grey area When you mix the audio events shown in the mix range Vision creates a single audio event equal in length to the length of the mix range This may result in the mixed audio event containing silence as part of the data file In this case silence exists as a series of zeros on the hard disk that actually occupy hard disk space NOTE Notice that audio was normalized during this mix operation That s because the Normalize pop up was set to On in the Audio Format dialog Figure 28 6 Blank Area Mixed As Silent Data Getting Rid of Mixed Silence Normally you ll want to remove signifi cant areas of silent audio data
311. gital audio card In addition to the RAM required to run the Vision application you ll need to set aside more memory for use as a RAM Vision amp Studio Vision Pro Audio Reference Manual 99 PART 4 Digidesign DAE Configuration amp Recording Setting the RAM Buffer To allocate RAM to the RAM buffer In Vision choose Audio gt Buffer Size Vision opens the Buffer Size dialog box Select the desired playback buffer size Changes will NOT take effect until you launch DAE again 0 Requires at least 9237k of DAE memory Minimal disk buffer for d24 Playback Engine Use this setting with Disk 1 0 or Project Playback Engines only 1 Requires at least 10532k of DAE memory Option for d24 Playback Engine Minimal disk buffer required for Audiomedia II Playback Engine 2 Requires at least 12991k of DAE memory Recommended disk buffer setting for d24 Playback Engine Minimal disk buffer required for PowerMix or Audiomedia IIl Playback Engines Q 4 Requires at least 17909k of DAE memory Option for d24 Playback Engine Minimal disk buffer required for PowerMix Playback Engines of 12 or more tracks 8 Requires at least 27745k of DAE memory Option for d24 Playback Engine Best performance for PowerMix Playback Engines Additional System Memory Required For d24 Systems 12288k Figure 12 2 Buffer Size Dialog Box for DAE PRO TOOLS III Project These systems use RAM that s
312. given for either instance For instance your first two hardware inputs could be named either Stereo Input as astereo pair or Input 1 and Input 2 for individual mono channels NOTE Custom names for inputs outputs and busses are stored in the Studio Vision Prefs file which is written to the Prefer ences folder inside your System F older Custom names for busses are also stored in Vision files and the Vision Setup file as they may differ from project to project eo fa Be Bee M SETTING AUDIO INSTRUMENT COLORS If you have a M acintosh with a color mon itor you can display different Audio Instruments in different colors To do so CG Choose Windows gt Audio Instruments Vision opens the Audio Instruments Window 2 Press and hold the mouse in the Color column located immediately to the right of the Audio Instrument s name Vision opens a color selection pop up menu NOTE You will not see a Color column if you have a black amp white monitor 3 Select the desired color from the pop up menu Audio Instruments Instrument Press and hold the mouse on a color to open a color selection pop up menu Figure 15 5 Setting an Audio Instrument s Color 134 Opcode Systems Inc CHAPTER 15 DAE Audio Instruments You can change the colors available in the color selection pop up menu To do so CG Choose Setups gt Colors Vision opens a dialog box containing
313. gnal When relevant these points will be discussed in the remaining sections of this chapter 46 Opcode Systems Inc CHAPTER 7 Acadia Audio Channels in Consoles O M TIP For easy access to any of the six ASSIGNING PLUG INS teen Console Windows use the Commands Window to assign a key equivalent to open them From the Console Window menu choose Build Console From gt Audio Instruments The Acadia audio system supports VST compatible plug ins These plug ins offer real time processing of audio in Vision Vision ships with a large number of useful plug ins developed by Opcode These plug ins are installed into a folder called Each of your Audio Instruments is auto VST Plugins which must reside in the matically assigned to a console channel same folder as the Vision application Console 1 If you have other VST plug ins you d like to use with Vision just drag a copy of them or an alias into the VST Plugins folder El Elz z l W meea taataa aala ta nd Mngr _ _Sna Mngr Up to four plug ins can be used for each audio channel the output of each plug in connecting to the next in series NOTE You could manually assign indi NOTE Although you can assign up to four vidual channels to only those Audio plug ins for each console channel you prob Instruments used in your sequence but ably shouldn t do this for every channel this method provides a quick way to Th
314. gner II or recorded in stereo with other applications Deinterleaving will convert the file into two linked mono files Rebuild Waveform Rebuild Waveform rebuilds the wave form summary for an audio file Vision stores the waveform summary in RAM and uses it to display waveforms quickly without reading the actual data from the hard disk IMPORTANT NOTE If you export audio from Vision to another program edit it then import the audio back into Vision you may have to use the Rebuild Waveform command so that Vision can display the waveform accurately Find File Normally if you rename an audio file or move it to a new location Vision is smart enough to find it But if an audio file gets lost for some reason choose Find File to display a dialog box asking you to locate the missing audio file Once you locate a lost audio file you must save the Vision file to update its pointer to the audio file s new name or location If you cancel the Find File dialog box the Vision file won t update its pointer to the audio file and you ll be asked to find it each time you open the sequence file In previous versions of Vision Find File was called Where Is 298 Opcode Systems Inc CHAPTER 25 File Management Remove from List Remove from List removes the name of an audio file from the File M anagement list and also removes any audio events from the active Vision file that reference the file It does not affe
315. going through a mixing console When the On option is selected Vision sends the audio signal arriving at the input directly to the output of an audio channel so that you can hear the signal you re recording Off Select Off if you re using a mixing console to route audio signals to and from your audio interface When the Off option is selected Vision does not send the audio input signal directly thru to the output Auto Select this option if you want Vision to make intelligent thruing decisions based on recording play back modes Specifically e Vision turns Thru On during idle times e Vision turns Thru Off during playback e During recording Vision turns Thru On only for the input chan nels that are record enabled This lets you hear what you re record ing while you record it QuickPunch Choose this option to enable on the fly punching in and out available only to Studio Vision Pro owners with TDM quipped hardware See Punching in on the fly with QuickPunch pg 127 for details Auto Compact Choose this option to automatically compact audio during recording Compacting frees disk space by throwing out audio data that is not referenced by the current sequence file Such as data from dis carded takes Link Pairs Choose this option to link two channels together into a single stereo audio event Vision amp Studio Vision Pro Audio Reference Manual 111 PAR
316. h Is called the session sample rate This rate generally should be the same as the hardware sample rate or you may hear fluctuations in pitch or quality Conversion Processes Vision supports anon real time Off line conversion Off line conversion occurs when you ask Vision to convert a particu lar audio file from one sample rate to another About Off line Conversion Vision offers two methods of performing Sample rate conversion e DSP gt Convert Sample Rate is the highest quality means of converting the sample rate However it is rela tively slow compared to other means See Convert Sample Rate pg 362 for details on using this method e Audio gt Conversion Overview is the fastest way to convert files It is used to open the Conversion Overview dialog box For more information see the following sections Performing an off line conversion will create a new audio file on your hard disk You can then choose to delete the old ver sion of the file ABOUT SAMPLE SIZE CONVERSION If you are using Pro Tools 24 you can choose between files with sample sizes of 16 or 24 bit However all files have to be the same sample size You can use the Conversion Overview dialog to convert all files to the same sample size Users of other hardware systems should always use 16 bit files 302 Opcode Systems Inc CHAPTER 26 Sample Rate Conversion and Deinterleaving ABOUT DEINTERLEAVING Vision when used with
317. h TDM plug ins 130 Buffer Size dialog File Buffer Size 87 File Buffers 87 M emory Available 88 M emory Required 88 Process Ahead 88 Bus Send area 58 B usses creating a submix 76 mono amp stereo 59 naming 134 436 Opcode Systems Inc Index recording from 81 recording from TDM 170 172 soloing 40 stereo in DAE 139 Bypass button Plug In area 51 Plug In Edit window 65 Plug In Edit window TDM 154 Bypass Save As Dialog DSP Preferences 425 Bypass Settings Dialog DSP Preferences 424 Bypass this dialog next time in Audio Format dialog 233 C Cancel button Import Audio dialog Acadia 208 Import Audio dialog DAE 210 Capture 320 321 Capture Post O utputs M ix Acadia 318 Capture Pre Outputs M ix Acadia 318 Capture Seq gt Seq 321 Capture Seq gt T rack 321 Card to Use Hardware Setup DAE 102 Card Type Hardware Setup DAE 101 CD importing audio from 208 217 218 Channel EQ window 70 Plug In Edit window Acadia 65 Plug In Edit window TDM 153 Channel 1 2 Input Hardware Setup DAE 103 Channels in Audio Format dialog 231 232 in File Management window 285 in Get Event Info 347 Checking Disk Allocation DAE 106 Choose 6 Clear Clip and Undo 287 File Management menu 299 clearing Consoles 62 Click 5 clipping avoiding 28 118 Instruments Inputs Busses 60 Outputs 60 Clipping Indicators 23 Console 60 Record M onitor DAE 110 Clock Source Hardware Setup 15 Color A
318. hange controller value Using the Strip Chart You can enter automation events in the Graphic or Track Windows Strip Chart by using the Pencil tool to draw information that changes over time and affects multi ple events To do so 1 Open a Graphic or Tracks window for the desired track Open a Strip Chart showing either volume or pan Audio volumes are displayed from to the Maximum Fader Position setting Acadia users see page 89 DAE users see page 173 Audio pan events are displayed from lt 100 00 to 100 00 gt Pan is displayed with pan center at zero pan left below zero and pan right above zero The far ther you draw data from pan center the farther left or right you ll pan the Instrument IMPORTANT To avoid overflow prob lems draw volume and pan controllers with a low density setting as low as possible without hearing individual steps For details about setting controller den sity in the Strip Chart see your MIDI Reference Manual 3 Click the Pencil icon in the lower left of the Strip Chart to turn the cursor into the Pencil tool 256 Opcode Systems Inc CHAPTER 23 Adjusting Volume and Pan 4 Choose an operation type from the pop up menu in the lower left of the Strip Chart Straight oO ie IEE m 1 Triangle lt i 7 Sawtooth 5 Choose audio volume or audio pan from the strip chart contents pop up No Strip Chart Velocity Release Velocity
319. hanges from previous versions of Vision 271 explanation 271 272 volume and pan 257 440 Opcode Systems Inc Index Faders window 259 audio volume and pan 270 Fast Waveform Display 182 354 File and Item Lists Import Audio dialog DAE 210 File Buffers number Acadia 87 Size Acadia 87 File column in File Management window 284 File Format in Audio Format dialog 228 in Get Event Info 347 File Info Import Audio dialog Acadia 207 File Length F ade Crossfade 370 File List Import Audio dialog Acadia 207 in Conversion Overview 304 File Management 350 File Management menu 286 Clear Clip and Undo 299 Compact 286 Consolidate 287 Copy to Folder 291 Copy to Folder tip 293 Deinterleave 298 Delete 297 Find File 298 Label 288 Label example 290 291 M ove to Folder 294 Rebuild Waveform 183 298 Remove from List 299 Rename 295 Sample Rate Convert 297 Select All 299 Select Unused 299 File Management window 283 Bar Display 284 Bits column 286 Channels column 285 Events column 285 File column 284 organizing audio files 286 playing files 286 Sample Rate column 285 Size column 285 Type column 285 Unused column 285 viewing the file path 284 File menu Export as QuickTime M ovie 206 Export Audio Events 206 Export Audio M ix 206 223 Import Audio 206 Import Audio Using QuickTime 206 File Volume in Get Event Info 347 Filter Type in EQ dialog box DSP menu 367 Find File File
320. has no effect on the Audio Send For an illustration of the signal flow for pre and post sends see Figure 7 2 on page 46 Send Level Use this numerical to set the level of the audio signal sent to the destination speci fied in the Send Selector Values range between 0 and 127 where e Q n0 audio Signal is sent to the send destination e 127 100 of the audio signal level is sent to the send destination To adjust the Send Level click in the field and type in anew value or click and drag with the mouse Mono amp Stereo Busses Busses can be mono or stereo as speci fied in the Audio Instruments amp Routings Window This means that if you have a stereo Audio Instrument and want it sent to a bus you should make sure that the destination is a stereo bus You can however mix and match stereo and mono signals when routing to busses In doing so the following rules apply e When sending a stereo console chan nel to a mono bus the signal is Summed e When sending a mono console chan nel to a stereo bus the signal is sent to both the left and right channels of the bus Vision amp Studio Vision Pro Audio Reference Manual 59 PART 3 The Acadia Audio System In addition the following rules apply for busses when used as record sources e When recording from a stereo bus without Link Pairs enabled to a mono Audio Instrument only the left signal is recorded e When recording from
321. have the Graphic Window open you ll see a graphic representation of your waveform appear below the Piano Roll ooo aaa Figure 14 2 Waveform Displayed The appearance of the waveform is deter mined by the Audio gt Waveform Display Submenu Specifically e Off This display option completely disables the waveform display When you select this option Vision displays waveforms as a straight line and wastes no time calculating their appearance e Fast This display option allows Vision to redraw waveform displays quickly because it draws them ata low resolution This may be desirable when you re recording or playing back audio but the lower resolution is not as good for detailed audio editing High Resolution This display option allows Vision to display the actual texture of waveforms This is desirable when you re editing and need to clearly see all peaks and val leys but it takes the longest amount of time to recalculate and draw See Waveform Display pg 354 for more information NOTE Remember if you want to turn audio recording off so you can record only MIDI disable the Record Enable Indicator in the Record M onitor Window or simply close the window You can see if audio recording is enabled by looking for the little digital audio waveform in the Record M ode display ADVANCED RECORDING TECHNIQUES The following sections discuss other audio recording techniques for Vision Please see Chapter 21
322. he Acadia audio system the session sample rate should always be the same as the hardware sample rate as specified in the Hardware Setup dialog Changing the Sample Rate pop up in the Hardware Setup dialog automatically changes Vision s session sample rate When using the Acadia audio system the session sample rate must always match the rate used by your audio files If you therefore switch the session sample rate you will be prompted to convert any exist ing audio files to the new rate other wise they will not play back at the correct pitch and tempo To set Vision s session sample rate Choose Audio gt Sample Rate Size Vision opens the Sample Rate Size dialog Select a Session Sample Rate and Size Session Sample Rate 44100 Sample Size 16 bits Hardware Setup Figure 3 7 Set Session Sample Rate Size dialog box 2 From the Session Sample Rate pop up menu select the desired session sample rate This pop up menu lists the sample rates supported by your audio hardware and its associated ASIO driver Select a Session Sample Rate and Size v 44100 Session Sample Rate Sample Size Hardware Setup 3 Click the OK button The session sample rate is changed along with the rate specified in the Hardware Setup dialog If necessary you are prompted to convert existing audio files to the new rate NOTE Attempting to play audio files with sample rates that differ from the ses
323. he analysis By analyzing both volume and velocity Vision creates an accurate M IDI rep resentation of the dynamics contained in your audio file Brightness Vision analyzes the tonal characteristics of your audio file and generates MIDI brightness con troller data to match You can then map the brightness data to a similar parameter in your MIDI device to make its timbral changes match the audio s e Pitch bend Vision analyzes any pitch fluctuations that occur in the audio file and generates MIDI pitch bend data to match NOTE You can enable or disable any of these M IDI conversion options For exam ple you can convert audio to MIDI by analyzing only the notes and their veloci ties while ignoring volume brightness and pitch bend characteristics For more infor mation see Using the Audio to M IDI Command pg 397 Audio To MIDI Uses The following are just some of the many uses for Opcode s Audio to M IDI command e Create MIDI sequences without playing a MIDI keyboard Sing each track and convert it to M IDI data Play a track on the guitar bass saxophone or whatever other instrument you like then convert it to a MIDI track 396 Opcode Systems Inc CHAPTER 36 DSP Menu Audio to MIDI and MIDI to Audio e Edit audio files in the MIDI domain Y ou can convert audio data into MIDI edit the MIDI data then apply your MIDI edits to your original audio file usin
324. he first time you re using this command you will be prompted with a dialog box to locate Audioshop In the future Vision will remember where it is unless you move it If at some later time you want to open a different sample edit ing program with this command hold down the Option key when you choose it Audioshop will open allowing you to edit the entire audio file that contains the selected audio event If Audioshop is already running it will become the active application but no new file is opened your selection is not communicated to Audioshop IMPORTANT If you don t see the changes you made in Audioshop reflected in Vision or if you are unsure these changes are reflected use the Rebuild Waveform command in Vision s File Management dialog box DAE NOTE This section discusses the E dit E vent Soundfile command when used with DAE If you re using Vision with Aca dia see Acadia pg 348 Choose this command to open Sound Designer II so you can process the actual sound data you recorded using Vision All audio in the selected event s audio file will be displayed in Sound Designer I s Wave form Editing window and the event or portion of it that you selected in Vision will be highlighted if you re using Sound Designer II version 2 6 or better IMPORTANT It is up to you to know how to use Sound Designer II If you re unfamil iar with sound processing it is very possible that you will
325. he left and right channels If the selected Audio Instrument is not stereo and Link Pairs is checked when you enable an input pair Vision will prompt you will the following dialog mono When recording with Link Pairs the Instrument pop up should use a stereo Audio Instrument 6 The recording instrument Audio 1 is Would you like to make Audio 1 stereo Click Cancel to leave all Audio Instru ments stereo status untouched and return to the Record M onitor Click Don t M ake to leave all Audio Instruments stereo status untouched and proceed to the Save dialog Click M ake to make the selected Audio Instrument in this case Audio 1 stereo and proceed to the save dialog If you choose Cancel or Don t M ake you Should manually make the selected Audio Instrument stereo or select another ste reo Audio Instrument for recording When you record in stereo both channels appear in the Graphic Window as a single audio event but with unique left on top and right on bottom waveforms 32 Opcode Systems Inc CHAPTER 5 Acadia Recording Audio Recording Multiple Takes Its common to record a particular perfor mance numerous times Each performance Is called a take By record ing numerous takes you can later choose the best performance or perhaps assem ble anew performance from the various takes There are two different techniques for storing multiple takes e Yo
326. he signal flow of an audio channel Phase occurs before sends both pre and post Phase is not available for console channels assigned to hardware outputs NOTE You can permanently affect the phase of an audio file with the Invert Phase command in the DSP menu For details see Chapter 31 DSP Menu in your Audio Reference manual To Invert the phase for an audio channel CG Open a Console Window and assign the desired audio channel to a console channel Vision amp Studio Vision Pro Audio Reference Manual 55 PART 3 The Acadia Audio System 2 From the Console Window menu choose EQs gt Gain Faders The EQ area is added to the audio chan nels in the Console Window EQ area with Phase toggle In the EQ area for the desired channel click the Phase button so it s highlighted Figure 7 12 Phase inverted Vision inverts the phase for the audio channel Audition the mix to see if the problem has been fixed If desired click the Phase toggle again to return the channel to normal AUDIO SENDS Each console channel supports up to four Audio Sends These work very much like an effects send on aregular mixing con sole Destinations for sends can be hardware outputs or any of 16 busses Some possible uses for sends include e Route Audio Instruments to a hard ware output for external processing e Route groups of Audio Instruments to a bus for sub and master mixes e Route grou
327. hem with individual Vision files To open the DSP Preferences dialog box choose DSP gt P references DSP Preferences Apply to All DSP Commands 2 Dialogs LI Bypass Settings Dialog I Bypass Save As Dialog audio Events When processing samples in 1 1 1 5 2 a a selected range create One Ewent fewer events larger files O Audio Files Save All new events in a single file O Default Folder Audio Create unique filenames by concatenating Document Name DSF Operation Unique Number Example My Song Flugin 001 6 Figure 41 5 DSP Preferences Menu O 7 with sequence files As you can see in Figure 41 5 there are numerous elements in the DSP Prefer ence dialog Specifically Apply to Use this pop up menu to select the DSP command for which you wish to set the Preferences You can set Pref erences for each individual DSP command or you can set them glo bally by choosing All DSP Commands Vision amp Studio Vision Pro Audio Reference Manual 423 PART 7 Menus Normalize Reverse Invert Phase Convert Sample Rate Pitch Shift Select any of Formant Shift these items to Time Scale assign unique Adjust Audio Tempo preferences to the correspond Audio to MIDI ing DSP menu MIDI to Audio command Premiere Plug Ins All DSP Commands Select this item to assign the same preferences to all DSP menu commands In general you l
328. hes 2 3 240 ee 2s Se 55 4s This audio event will play until this overlapping audio event silences it and plays instead Figure 19 2 The Event with the later start time has playback precedence when multiple audio events on the same Audio Instrument overlap in the same track The reason for this is that Vision automat ically and dynamically assigns a single playback voice to each Audio Instrument in a track NOTE This situation occurs only if you have overlapping audio events assigned to the same Audio Instrument in the same track If the same two overlapping audio events arein separate tracks they will both play back unless you disable Poly mode Poly Mode for DAE is discussed in Using The Poly Column pg 138 If you want Vision to play multiple audio events simultaneously use one of the techniques discussed in Playing Multiple Audio Events Simultaneously pg 200 Viewing Overlapped Events If an audio event is partially hidden behind another audio event you can view it by clicking it 2 25 Se 5S q Figure 19 3 Viewing the Overlapped Event Playing Multiple Audio Events Simultaneously There are a couple of different ways to make Vision play simultaneous audio events 200 Opcode Systems Inc CHAPTER 19 Basic Digital Audio Playback e Assign each overlapping audio event in atrack to a different Audio Instrument e Place overlapping audio events in sep arate tracks
329. his chapter applies only to those who use DAE Audio Scrubbing is not supported by Acadia AUDIO SCRUBBING IN THE GRAPHIC WINDOW Vision when used with DAE allows you to audibly find precise locations in an audio event by scrubbing By holding down the Command key while dragging the mouse Vision lets you scrub the audio event either forward or backward and at varying speeds To use scrubbing CG Move the cursor over the audio event you wish to scrub 2 Press and hold the Command key The cursor changes into the Speaker cursor Primordial Audio Speaker cursor indicates scrubbing is enabled 3 While continuing to hold the Command key click and drag to the right to hear the event played forward or drag to the left to hear the event played backward The playback speed is determined by how far the Speaker cursor is from the actual playback point the further the Speaker cursor is from the playback point the faster the audio plays back The closer the Speaker cursor is to the playback point the slower the audio plays back Normal playback speed is obtained when the cursor is dragged about 2 3 seconds ahead of the play back point The maximum scrubbing speed of DAE is 1 5 times the normal playback speed Vision amp Studio Vision Pro Audio Reference Manual 337 PART 6 Advanced Audio Techniques 11 3 Bed 23 51 5 amp 3 4s 3 51 53 Bel GS 7 Frimordial Audio
330. his shows the type of audio file that the import operation will create In general you should create an audio file that can be played back by your audio system For example if you re using Pro Tools III IV you should create a 44 1 kHz or 48 kHz 16 bit audio file Vision amp Studio Vision Pro Audio Reference Manual 219 PART 5 Basic Audio Editing amp Playback 6 Click the Format button if you need to change the format of the audio file Vision opens a subset of the standard Audio Format dialog box Audio Format Sample rate ERE Y File format Output file size 555K The sound in the movie is 8 bit Cancel OK Figure 20 10 Audio Format Dialog Box 7 Use the various pop up menus to define the desired audio format The Audio Format dialog box parame ters are discussed in Anatomy of the Audio Format Dialog Box pg 228 Click OK Vision returns you to the Save As dialog box 9 Click Save Vision saves the audio file in the requested format and imports it into the selected track Sequence A Track 1 Teardrps aiff TT EPs strip ort NOTE If at this point Vision opens the Conversion Overview dialog box see If the Conversion Overview Dialog Box Appears When You Import Audio pg 220 9 4 75 Audio 1 rk Len fo io wa Ree Mute Solo 5 6 E Exact BEH If the Conversion Overview D
331. i Vision automatically switches the mono hardware inputs to a stereo input pair see Figure 5 3 a Soundin MSSM eae M L Chone oO USSG Bf C Cnone gt Thru Off Sample Size 16 bits Figure 5 3 Link Pairs enabled 2 Inthe Record Source pop up make sure you have the desired input pair selected O Record Mor Rec Source 56 18 8 Z Clip Rec lt _io ae Input Pair P Sound ni F Output Pair P Figure 5 4 Choosing a hardware input pair Vision amp Studio Vision Pro Audio Reference Manual 31 PART 3 The Acadia Audio System 3 Inthe Instrument pop up select a stereo Audio Instrument ord Monitor H Clp Fecord File Available Instrument J audio 1 mono steren p A i udio 3 stereo Auto Compact faudio 4 mono Audio 5 Emono Audio 6 Emono mT frac To make an Audio Instrument stereo place a checkmark in the Stereo column of the Audio Instruments amp Routings Window see Figure 5 5 io 0 0 0 0 0 o Audio 3 vk Bus 1 0 0 0 Audio 4 Bus 1 0 0 0 Audio 5S Bus 1 0 0 0 7 0 0 Figure 5 5 Making an Audio Instrument stereo 4 Record enable the linked input pair by clicking one of the Record Enable Indicators O SS Record Moni cit O CETLE DAL LL Rec Source 36 2 Clip Recorr o Sample Size 16 bits te cee a When prompted enter names for the record files for both t
332. ialog Box Appears When You Import Audio If you imported audio in a format that s not supported by your currently selected audio system Vision opens the Conver sion Overview dialog box automatically allowing you to convert the offending audio file s into a playable format Conversion Overview The checkmarked audio files below are either stereo interleaved or not at the Session Sample Rate or both Click Convert or Convert All to perform the appropriate conversions Session Sample Rate 44100 Done Hardware Setup Convert All Filename SR Hz SS Bits Chans Slip Right 44100 16 Stereo Snare Power 44100 16 Stereo zaps 44100 16 Stereo Figure 20 11 Typical Conversion Overview Dialog Box The Conversion Overview dialog box and the various reasons for its existence are discussed in Chapter 26 Sample Rate Conversion and Deinterleaving In general you should always import audio in a format supported by your digi tal audio hardware This will alleviate the need for the Conversion Overview dialog box 220 Opcode Systems Inc CHAPTER 20 Import Export Cornucopia To import audio in a supported format CG Always glance at the format information at the bottom of an audio file s Save As dialog box fa Desktop Y Audiol HD Macintosh HD Macintosh HD Desktop Save audio track as Cancel cyber mov1 aiff Save Space
333. ically e PART 1 Introduction All Vision users should read these chapters They introduce you to basic audio features amp terminology e PART 2 Acadia Configuration amp Recording Read this only if you re using Vision with Acadia Vision s ASIO compati ble system If you re working with your computer s built in Sound M an ager hardware this is the option you ll probably be using This section teaches you how to configure Vision Opcode Systems Inc CHAPTER 1 Introduction and record audio using Acadia You do not need to read this part if you re using Digidesign hardware in DAE mode PART 3 Digidesign DAE Config uration amp Recording Read this only if you re using Vision with Digidesign digital audio hard ware in DAE mode it teaches you how to configure Vision and record audio using Digidesign s DAE audio system You do not need to read this part if you re using Acadia PART 4 Basic Audio Editing amp Playback All Vision users should read this part It teaches you how to perform basic audio editing and playback PART 5 Advanced Audio Techniques All Vision users should read this part though not all chapters apply to all users It teaches you advanced meth ods for editing mixing and organizing audio PART 6 Menus All Vision users should read this part It discusses items in the Audio and DSP menus PART 7 Index Manual Conventions The Vision manuals use a
334. ick in them to make changes they indicate the processing and routing resources assigned in all of four Console Windows O0 gt audio Instruments amp Routings gt FB 1 Output 1 2 1 z a Output 1 2 E o ot Mite drees a Figure 15 13 Viewing Sends and Plug Ins In Figure 15 13 for instance Audio 1 is routed to one send and is assigned to two plug ins Audio 2 on the other hand is assigned to no sends and no plug ins Since it is possible for audio channels to be removed from a Console Window with out clearing their sends and plug ins these columns can be used to monitor these assignments regardless of the state of the Console Windows Vision amp Studio Vision Pro Audio Reference Manual 145 PART 4 Digidesign DAE Configuration amp Recording THE AUDIO INSTRUMENTS MENU The Audio Instruments Window contains a small pop up menu with two options e Dynamic Allocation e Fixed Allocation Number of Instruments P Dynamic Allocation Fixed Allocation Use this pop up menu to change the default voice assignment method for your DAE hardware IM PORTANT Changing voice allocation methods greatly alters Vision s recording and playback functions M ake sure you understand the difference between the two options before changing the default NOTE Some Digidesign hardware does not support both voice allocation methods TDM Systems Cleari
335. if a bus is stereo enable a few TDM plug ins from the Console pop up menu and the gray arrows will tell you See M ono and Stereo TDM Plug Ins pg 151 TIP If you want to record from a bus using complex routing first start by setting up everything in the consoles with the record channels disabled Enable the record chan nels last As long as the channels are not record enabled you can have the wrong input the pop up on the left or the wrong destination the Audio Instrument pop up on the right and no error messages will be displayed 172 Opcode Systems Inc CHAPTER 17 DAE Audio Preferences Use the Audio Preferences dialog box to set various record playback options for the Digidesign hardware NOTE The Audio Preferences dialog box may look slightly different depending on your audio hardware These differences will be noted throughout this chapter To open the Audio Preferences dialog box choose Audio gt Audio Preferences Audio Preferences Maximum Fader Position W 0 dB i 6 dB Smooth Audio Controllers Fade duration Volume Fan a0 Import multiple files end to end onto one track Figure 17 1 Audio Preferences Dialog Box for DAE As seen in Figure 17 1 there are many elements to the Audio Preferences dialog box These are discussed in the following sections ia ens MAXIMUM FADER POSITION DAE allows you to boost output volumes by 6 dB if desired If your audio f
336. ight to hear the event played forward or drag to the left to hear the event played backward There are a few additional rules you need to be aware of when scrubbing in the Tracks Window e Ifyou scrub over a phrase that con tains only MIDI events Vision plays all the MIDI events in all tracks No audio events will play e Ifyou scrub over a phrase that con tains only asingle audio event Vision plays back that audio event No MIDI events will play e Ifyou scrub over a phrase that con tains multiple audio events one of two things happens CASE 1 If you begin scrubbing ata time where only one audio event is present Vision will play back that audio event It will not play other audio events in the phrase nor will it play MIDI events CASE 2 If you begin scrubbing ata time where there is more than one audio event present Vision will not play anything Vision cannot scrub multiple audio events e Ifyou scrub over a phrase that con tains a single audio event along with MIDI events Vision will play the audio events only No MIDI events will play e Ifyou start scrubbing between phrases Vision will play all the M IDI events in all tracks No audio events will play Vision amp Studio Vision Pro Audio Reference Manual 339 PART 6 Advanced Audio Techniques 340 Opcode Systems Inc Menus Vision amp Studio Vision Pro Audio Reference Manual 341 PART 7 Menus 342
337. iles were recorded at a very low amplitude you can set this value to 6 dB and then increase the position of your volume faders to max imum this will give all your audio files a 6 dB volume boost The problem with boosting the output of all your audio files is that any audio events that contain signals close to the maximum amplitude will get boosted to the point of distortion Therefore you should proba bly use the 6 dB boost only as a temporary solution to low audio volumes The best way to achieve the loudest possi ble volume without distortion is to use the DSP gt Normalize option as discussed in Normalize pg 358 Then if you want playback to be at a lower volume use either a lower velocity value for an event or use audio volume events to adjust vol ume For more information about setting audio event volumes see Chapter 23 Adjusting Volume and Pan To obtain the best audio quality you Should leave the Maximum Fader Posi tion setting at 0 dB and record your audio as high as possible without clipping Vision amp Studio Vision Pro Audio Reference Manual 173 PART 4 Digidesign DAE Configuration amp Recording TT SMOOTH AUDIO CONTROLLERS SESSION 8 Smooth Audio Controllers are not available with Session 8 and therefore do not appear in the Audio Preferences dialog box Sudden changes in volume and pan can produce unwanted noise such as clicks pops or zips This dialog bo
338. ill get an error message indicat ing there is another application using DAE You can however change the buffer size from the DAE application Simply switch to DAE you can even leave Studio Vision open while doing this and choose File gt Set Playback Buffer Size 130 Opcode Systems Inc CHAPTER 15 DAE Audio Instruments This chapter discusses Audio Instru ments as defined in Chapter 2 Basic Ao naume tel ll Terminology In it you ll learn Output 1 2 0 0 e How to assign the number of Audio l Instruments i output 1 2 0 0 utput 1 e How to name Audio Instruments e e How to set Audio Instrument colors Se Bs e How to mute and or solo Audio ouput 1 20 Instruments DUENE 0 O i Output 1 2 0 0 e How to assign voices if necessary i Output 1 2 0 o Output 1 2 0 0 e How to use poly mode with an Audio ae Instrument if necessary Goop 0 no outpu e How to assign Audio Instruments to j hardware outputs oatee EEEN ae no sated 0 0 aM no output OPENING THE AUDIO cred INSTRUMENTS WINDOW en To open the Audio Instruments Window Figure 15 1 Typical Audio Instruments Window for Digidesign Session 8 Project CG Choose Windows gt Audio Instruments Vision opens the Audio Instruments Window TIP Ifa track contains only audio data you can open the Audio Instru ments Window directly from the List or Graphic Window or Control Bar by Vision amp Studio
339. ime D mze s Release time oo mze s Strip Silence Figure 11 12 Strip Silence dialog Make sure the Attack and Release times are both set to 0 msecs Combine the MIDI track and audio track into a single track and then view its contents in the List Window Make sure Absolute SMPTE is checked in the List Window menu a Sequence A Track 1 2 4 22 00 00 03 15 55 S o 2 4 66 00 00 03 17 05 al I 3 1 0 00 00 04 00 00 BRB Mute Solo 12 Events 0 00 00 00 00 00 LinnDrum HiHat 1 00 00 00 00 55 Audio 1 M record offset 00 00 00 15 00 LinnBrum HiHat 1 00 00 00 15 55 Audio 1 M record offset 00 00 01 00 00 LinnBrum HiHat 1 ee 53 Jandia zz 0 N N NANN F 1 1 1 1 1 1 ONON 3 Make note of the difference in SMPTE bits between the MIDI events hihat note and audio events record offset audio In the above example the dis tance between the first two events is 55 bits If this number varies throughout the recorded measures try to find an aver age value NOTE There are 80 bits to a single SMPTE frame Use the following formula to calculate an appropriate record offset value in samples N is the number of SMPTE bits arrived at in the previous step record offset 44100 N 2400 If we use 55 bits for N your optimum record offset would be around 1011 samples Vision amp Studio Vision Pro Audio Reference
340. ing make sure you have appropri ate automation specifically volume and pan events at the very beginning of your sequence Otherwise your Audio Instru ments will use the volume and pan values most recently sent to them To mix audio using the Capture command Select a sequence by clicking its selector dot in the Sequences Window Alternately if you want to capture only certain tracks or events simply select one or more tracks in the Tracks Win dow or select individual audio and controller events in a Graphic or List Window Choose Edit gt Copy Vision copies your selection to the Clipboard 3 Select a destination for the captured audio either a track or a sequence Make sure Audio gt Mix Audio on Capture is checked Choose either Edit gt Capture Seq gt Seqgq or Edit gt Capture Seq gt Track The Save As dialog box appears At this point Vision works with the M ix command according to your audio sys tem If you re using Acadia see page 317 If you re using DAE see page 319 Vision amp Studio Vision Pro Audio Reference Manual 321 PART 6 Advanced Audio Techniques Za aa aa as THE MIXED AUDIO ON YOUR HARD DISK M ixing audio always copies the original selected audio into anew mixed audio file on your hard disk The original audio files chosen for the mix remain untouched on your hard disk and if you used the Mix command not Capture Vision removes the ori
341. ing the Console Windows The example that follows shows how to automatically create a console specifically for Audio Instruments NOTE You can automatically create con soles that control only the Instruments used in your sequence or you can create consoles manually To automatically create a console specifi cally for Audio Instruments CQ Press and hold the mouse over the Windows gt Console command Vision produces a submenu of console choices Sequences O Tracks S List SSL Pulse sD MIDIKeYS SSK Faders Console 1 Console 2 Control Bar RSA Console 3 Counter Console 4 Record Monit nrar Cancale E Figure 23 3 Console Submenu 2 Select one of the sixteen consoles from the submenu Vision opens that Console Window Console 2 Figure 23 4 Typical Console Window 3 From the Console Window Menu choose Build Console From gt Audio Instruments Oe Console 1 Channel Width b a Audio Sends d Plug Ins gt EQs gt Show Selected Fader Info Show All Fader Info Show Remote Devices Show Masking Tape FAR Fader Remotes Enabled Sav Master Instrument Console Name E _ none Gl Kim Build Console From gt Selected Tracks Instruments All Instruments In Use MIDI Instruments In Use Audio Instruments In Use Clear Console Save Console Layout Save Console Layo
342. ings See Plug In Templates pg 154 for more information Vision amp Studio Vision Pro Audio Reference Manual 153 PART 4 Digidesign DAE Configuration amp Recording Bypass button Click this button to bypass the plug in Other plug ins within that console channel are not affected each has its own Bypass button The Bypass button is duplicated in the Plug In area of the Console Win dow Clicking it in either location updates it in the other Mute and Solo buttons Click one of these buttons to mute or solo the audio instrument that the plug in is assigned to respectively Plug In Templates Parameter settings for TDM plug ins are recalled from the Template pop up in the Plug In Edit Window DO SSS TCICHORuUs for Audir Plug In TCICHORUS Channel Audio 1 Template Chorus w Del Slet 1 4 Chorus w Delay Detuned Te SAOR st chorus Yer 2 00 RS Filtered Chorus tar rre Swirling Flange Vocals w Flange Figure 16 7 Plug In Template pop up Simply click on the pop up and choose from the list of plug in templates stored in the Vision Effects Templates file which must reside in the same folder as the Vision application Choosing a template automatically reconfigures the Plug In E dit Window for the displayed audio channel NOTE Selecting a plugin template replaces the current plug in settings If desired you can save the current settings by choosing S
343. intain timing to Mi DI data CJ Restore original tempo at End Time Audio to MIDI conversion is discussed C in detail in Audio to MIDI pg 396 Vision amp Studio Vision Pro Audio Reference Manual 413 PART 7 Menus 4 Enter a new length for the MIDI note In this example we ve changed the length of the note to 360 Scale Time Start Time End Time Duration Old 1 1 246 1 1 449 0 0 203 New oed eza E SA an 0 rrul 4 NOTE You cannot lengthen or shorten a note by a factor of more than 2 nor can you pitch shift audio greater than one octave up or down Click OK Vision lengthens the selected MIDI note also scaling any pitch bend volume or brightness data and to accommodate it shifts all the other notes later in time Notice that the Audio data no longer aligns with the MIDI data In the ruler at the top of the Graphic Window drag to select all MIDI and audio data Choose DSP gt MIDI to Audio Unless you disabled its display in the DSP Preferences dialog discussed on page 423 Vision opens the MIDI to Audio dialog box Check the Notes options and leave the others unchecked Since you only edited a MIDI note there s no reason to apply any other types of MIDI data back to the audio although other kinds of MIDI data can be edited and used to modify the audio event if you desire Click OK Unless you disab
344. ion 50 msecs Attack time 10 rises Release time 20 meecs Slice Audio Figure 27 4 Strip Silence Dialog Box Set the desired Slice Audio parameters 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 311 Vision amp Studio Vision Pro Audio Reference Manual 309 PART 6 Advanced Audio Techniques 5 Click the Slice Audio button Vision slices the audio into several small pieces 4 1 z Lead Yocal Pred ad Lead Vocal Figure 27 5 Audio after slicing Lead Vocal 6 Audition the audio slices To audition an individual slice first select the slice you want to hear amp 1 2 0 v Audio 12 rrr a N ea Lead Vocal Lead Vocal Lead Yocal Lead Voc Then press option spacebar eto ec lt to hear your selection If you re not happy with the results choose Edit gt Undo Slice Audio and use a different set of Slice Audio parameters When the audio signal goes above the threshold Vision begins a new event As soon as silence as defined in the Strip Silence dialog box is recognized Vision waits for the next point when the audio s volume goes above the threshold At that point the first event ends and another event begins IMPORTANT NOTE Slice Audio will strip any silence at the beginning of the selected audio away C
345. ion will always be at zero crossings Although edits in the Graphic window always happen at exact bar beat unit boundaries that is only what you see The audio that you hear will play from a zero crossing Suppose you zoom in as far as you can and make a cut in the middle of an audio region You try to edit at a zero crossing but you are bound by bar beat units Your edit may look like this Zero Crossing A transition that sharp would result in a loud pop A pop or click is caused by a sharp transition in a waveform and the transition pictured above is about as sharp as possible The good news is that Vision automati cally avoids this problematic situation Although the Graphic window Is con strained to these bar beat unit boundaries Acadia and DAE work at the sample level When Vision triggers an audio event in Acadia or DAE the timing 180 Opcode Systems Inc CHAPTER 18 Working with Audio Events is expressed in samples not bars beats units Because of this capability Vision will tell Acadia or DAE to play the sound starting at the next zero crossing This is the result What you Sa acca ica ae Daa aa Saas Tea a at see What you hear The DSP gt Mix and Export Audio Mix processes also work at the sample level and will ignore the first samples until they reach the first zero crossing Pops and Clicks Editing at zero crossings dramatically reduces the pop at the beginning of
346. iple instruments selected In Figure 24 13 and Figure 24 14 two tracks are selected one MIDI track and one audio track assigned to Audio 1 which does have opCHORUS assigned The pencil tool does appear in the Strip Chart H owever when you draw Information into the Strip Chart in this type of scenario information is only inserted on the appro priate instrument In this example plug in parameter events are inserted only on Audio 1 O Sequence Hea Figure 24 14 Drawing Plug In Parameter events with multiple instruments selected Graphic window Strip Chart The Strip Chart in the Graphic window works slightly differently In the Graphic Window the Strip chart will always show a pencil If you attempt to insert an event that is inappropriate for the selected track or if the track is multi and more than one of the instruments in 268 Opcode Systems Inc CHAPTER 24 Automation the track would be appropriate a dialog will appear asking you which instrument you d like the events to be inserted on This dialog will display only appropriate instruments Strip Chart contents Selected track s instrument Figure 24 15 Graphic window Strip Chart with inappropriate contents In the above case the track s instrument does not have the specified plug in assigned to it As soon as you draw in the S
347. is Vision amp Studio Vision Pro Audio Reference Manual 125 PART 4 Digidesign DAE Configuration amp Recording assigned to Voice 2 which is being used by the live audio since the live audio is routed to Input 2 If you want to hear all the existing Audio Events and the live audio 4 Change Audio Instrument 2 s voice assignment to a voice other than Voice 1 or Voice 2 In this example we ve changed Audio 2 to use Voice 6 DO Audio Instruments amp Routing P B Output 1 2 1 o o Output 1 2 E o Output 1 2 a 3 Detnt 1 7 oO o Now when you record on Input 2 you ll hear THAT audio PLUS the existing audio assigned to Audio Instruments 1 amp 2 ee OTHER RECORDING ACTIONS The following sections discuss other mis cellaneous record features Automatically Thinning Volume and Pan Data NOTE This information applies to all DAE users In some instances if you record numer ous real time volume and pan events and apply them to Audio Instruments then try to playback the sequence Vision may warn you that these audio volume or pan events are too dense Vision uses the Smooth Audio Control lers in the Audio Preferences dialog box to automatically thin out any overly dense data streams Specifically CG Choose Audio gt Audio Preferences Vision opens the Audio Preferences dialog box 2 Select the desired amount of
348. is column shows data that s unused by the active sequence file Audio data that is unused in one sequence file may still be used in another sequence file It s up to you to remember which audio files are shared by different sequence files Type Column This column tells you the audio file s format and what possible program the file Originated in There are four file types that Vision can read SD II Sound Designer II file format used by Sound Designer II and by Vision when recording with DAE AIFF Audio Interchange File Format used by Audioshop Vision and many other programs SD I Sound Designer file format used by the original version of Sound Designer e MSND This format was used by the M acM ix program for the Dyaxis Sample Rate Column This column shows the sample rate in Hz for each audio file Channels Column This column tells you whether the respec tive audio file is mono or interleaved stereo Linked stereo files Such as those recorded when using Vision with DAE appear as two mono files Interleaved stereo files appear as a single stereo file Vision amp Studio Vision Pro Audio Reference Manual 285 PART 6 Advanced Audio Techniques Bits Column This column shows the sample size in bits for each audio file This setting is often referred to as bit depth PLAYING AUDIO FILES NOTE This feature is only available in Acadia mode DAE does not support pla
349. is dis cussed in Selecting all Audio Events Assigned to the Same Audio Instrument pg 187 Auditioning with the Mute Buttons To audition an audio take in context with other tracks either audio or MIDI click the M ute button for all Audio Instruments except the one you want to audition In the following example Vision plays back any audio events assigned to Audio 2 as well as any audio or M IDI data con tained in other tracks These Audio Instrument are muted as indicated by the highlighted M button I Mlee A ee a strip Chart Ny e A EGE E Only audio events assigned to Audio 2 will play back since it s the only Audio Instrument that isn t muted IMPORTANT Muting an Audio Instru ment in the Graphic Window affects all audio events assigned to that Audio Instru ment for the entire sequence file even those in other tracks Auditioning with the Solo Buttons To audition an audio take without hearing any other concurrent tracks either audio or MIDI click the Solo button for the Audio Instrument you wish to audition In the following example Vision plays back only Audio 2 since It is soloed This Audio Instrument is soloed as indicated by the highlighted S button ig moeda all Bi ae Et SE roe Shuffle Audio 2 Shuffle Audio 2 ee eo ne a ee P The audio events assigned to Audio Instruments 1 amp
350. iscan takeup a lot of CPU resources and create a single console that controls all limit the number of tracks you can success of your Audio Instruments fully playin Vision For more details see 3 From the Console Window menu Chapter 11 Acadia Optimizing for press and hold the mouse on the Digital Audio Plug Ins item Vision produces a submenu of plug in Following is an example of how to assign plug ins in the Console Window For details on using the Plug In Edit Window O o Conson to edit store and recall plug in programs T ian e EE please see Chapter 8 Acadia Plug In Edit Dogn Window choices Show Selected Fader Info Show All Fader Info Show Remote Devices To assign a plug in to an audio console channel Fader Remotes Enabled Master Instrument Console Name Choose Windows gt Consoles gt Console 1 Build Console From gt Clear Console The Console Window opens Vision amp Studio Vision Pro Audio Reference Manual 47 PART 3 The Acadia Audio System 4 From the submenu highlight the desired number of plug ins and release the mouse Vision adds a Plug In area to each audio channel in the console IL ba ba Plug In area Figure 7 3 Console Window 2 plug ins displayed For the desired console channel click on the Plug In Selector pop up A list of installed plug ins is displayed
351. isk Allocation runs since it s in the Startup Items folder and takes a look at the last recorded audio files If they fill the entire disk Checking Disk Allocation will trun cate the unused portions for you saving only the audio data referenced by your sequence If Checking Disk Allocation doesn t trun cate the files automatically you can drag them on top of its icon to invoke the oper ation manually Vision amp Studio Vision Pro Audio Reference Manual 107 PART 4 Digidesign DAE Configuration amp Recording 108 Opcode Systems Inc CHAPTER 13 DAE Record Monitor Window Use the Record M onitor Window to con trol such recording operations as e record enabling e level monitoring e input source selection e file and option selection e Audio Instrument selection Read this chapter to learn what s in the Record M onitor Window You ll apply this Knowledge when you learn how to actu ally record audio in Chapter 14 DAE Recording Audio CHAPTER ORGANIZATION The appearance of the Record M onitor Window changes slightly depending on the type of audio hardware you use At the time of this manual s publication Vision supports the following Digidesign hardware e ProTools IlIl 24 e ProTools Il e ProTools e Session 8 Project e Sound Tools e Audiomedia lIl III M ake sure to read any supplements either printed or on line to learn about any additional Digidesign ha
352. it doesn t need to be ste reo After a stereo event has been unlinked you may wish to delete one of the two resulting audio events in order to free up an additional playback channel Deleting the audio event does not delete the disk space that was used by it for that you must use the File Management dialog box FILE MANAGEMENT Choose this command to open the File M anagement dialog box gt File Management SR Hz Chans its 0 18 Mb 0 02 Mb AIFF 22254 Mono 0 34 Mb 0 22 Mb AIFF 22254 Mono Figure 32 9 Typical File Management Dialog Box 350 Opcode Systems Inc CHAPTER 32 The Audio Menu This dialog box contains information about each audio file used by the active Vision file Since each Vision file may use a different group of audio files the File M anagement dialog box displays only the audio files used by the Vision file that s currently open In addition the File Management dialog box allows you to see how much of an audio file is unused by the active Vision file and if desired delete the unused data from your disk by compacting the file There are many useful operations that can be performed from within the File M an agement dialog box To learn about files and the File M anagement dialog box see Chapter 25 File Management CONVERSION OVERVIEW Choose this command to open the Con version Overview dialog box Conversion Overview
353. k Time in milliseconds is subtracted from the moment that the audio signal crosses the Silence Threshold to set the beginning point of the event With a longer Attack Time the separation will occur long before the audio signal crosses the threshold F eel free to experiment with different attack times Once you gate or auto sepa rate audio with the Strip Silence Slice Audio command you can audition it if you re not happy with the results undo the command and try a different Attack Time For an example of how to use the Attack Time parameter see Attack Time Example pg 314 Release Time Use the Release Time numerical to set the amount of time it takes for the audio Signal immediately preceding a stripped section to fade out As with the Attack Time numerical setting a release time can often sound more natural than an instantaneous change in volume The length of the release time you choose will depend on the sonic characteristics of your audio file Allowable values are between 0 ms and 1 000 ms 1 second F eel free to experiment with different release times Once you gate audio with the Strip Silence command you can audition it if you re not happy with the results undo the Strip Silence command and try using a different Release Time For an example of how to use the Release Time parameter see Attack Time Exam ple pg 314 Release Time is not available grayed out when working with Slice Audio Slice A
354. k of programs for the plug in See Saving and Recall ing Plug in Programs and Banks pg 65 for more information Channel Specifies the audio channel Audio Instrument hardware input or output or bus being processed by the plug in Slot Displays the plug in number 1 4 and stereo mode for the plug in Mute M utes the Audio Instrument that the plug in is assigned to Solo Solos the Audio Instrument that the plug in is assigned to Flip button Click this button to flip the display of the Plug In Edit W indow placing the plug in controls either on the top or the bottom of the window 8 Oo fFILTER for Audio 1 Template aI Program 1 Default Figure 8 4 Plug In controls at bottom of window Vision s plug in controls are displayed at the top of the Plug In Edit Window by default To display them at the bot tom simply click the flip button Some third party VST plug ins may not display properly in one position or the other In these cases use the flip button Bypass button Click this button to bypass the plug in Other plug ins within that console channel are not affected each has its own Bypass button The Bypass button Is duplicated in the Plug In area of the Console Win dow Clicking it in either location updates it in the other Plug In parameters This area dis plays the parameters for the assigned plug in For a description of each parame
355. ke to leave all Audio Instruments stereo status untouched and proceed to the Save dialog Click M ake to make the selected Audio Instrument in this case Audio 2 mono and proceed to the save dialog If you choose Cancel or Don t M ake you should manually make the selected Audio Instrument mono or select another mono Audio Instrument for recording Disabling a Record File You can disable audio recording by click ing the Record Enable Indicator again to turn It off This is convenient if you decide to record some MIDI tracks and don t want to record audio at the same time Once you ve assigned a record file to an input channel you can toggle its Record Enable on and off as desired you won t be prompted by the Save As dialog box That dialog box appears only if you haven t assigned a record file to the input channel Vision amp Studio Vision Pro Audio Reference Manual 117 PART 4 Digidesign DAE Configuration amp Recording Set Record Levels The bargraph in the Record M onitor Window functions like an LED display it displays the amplitude of an incoming signal PRO TOOLS III 24 An input must be record enabled before it can display an incoming signal To set your input levels Play or sing into your digital audio interface Look atthe bargraph for the input whose volume you wish to set Record Mon ti AAMOSNNORO C Lo G input A D 3 Adjust the level o
356. kmark and the dual Voice assignment Since you re using stereo Audio Instru ments you can access ONLY stereo TDM plug ins from the Console Window Console 1 a iE 00B stereo Output 1 2 Output 1 2 Output 1 aereo Audio Audioa aua R Audio 3 Audio 4 N otice that the plug in areain the Console Window now indicates that the Audio Instruments are stereo Vision amp Studio Vision Pro Audio Reference Manual 151 PART 4 Digidesign DAE Configuration amp Recording Using Mono TDM Plug Ins Assume you ve assigned a single mono voice to an Audio Instrument as set In the Audio Instruments Window H audio Instruments amp Routings F Instruments Audio 1 1 Output 1 2 o o E Audio z a Output 1 2 o o Audio i z Output 1 2 m o Audio Instruments are MONO as indicated by the lack of a checkmark and the single Voice assignment As shown in Figure 16 5 you can access two types of TDM plug ins from the Con sole Window mono in mono out e mono in stereo out mono mono mono mono mono mono mono mono mono mono mono mono in stereo out Slap Delay k mono Slap Delay mono in stereo out Med Delay mono Med Delay mono in stereo out Long Delay mono Long Delay mono in stereo out Sci Fi mono SurPan frnona T stereo out Figure 16 5 Two Types of Mono In Plug Ins If you select
357. l now uses the Sam pleCell as its input You can use all of Studio Vision s stan dard bussing TDM Inserts pan and volume events to create a virtual mix that includes any or all of your SampleCell outputs SampleCell TDM in the Audio Instruments window TDM audio channels for SampleCell now appear in the Audio Instruments amp Rout ings Window This means your SampleCell channels can be renamed and set to mono or stereo In addition you can use the Audio Instruments amp Rout ings Window to mute and solo SampleC ell audio channels route to TDM outputs or busses and monitor the number of assigned sends and plug ins no output no output no output no output no output no output no output no output Ge CTcoaqco oa eo a Sco BD ooo fo amp Figure 16 18 TDM audio channels for SampleCell SIGNAL ROUTING AND MONITORING Studio Vision monitors your input using whichever voice number and output is assigned to the selected input s Audio Instrument For example look at Figure 16 19 Notice that e Inthe Record Monitor Window Input 1 is assigned to Audio 5 e Inthe Audio Instruments Window Voice 5 is assigned to Audio 5 which in turn is assigned to Output pair 5 6 166 Opcode Systems Inc CHAPTER 16 TDM Bussing Routing amp Plug Ins O e Record Monitor EB rd File 45 26 10 2 Clip Reco Available Instrument
358. l numerical are disabled and invisible until you specify a send destina tion using the Send Selector pop up This provides a visual way to quickly locate active channel sends on a busy mixing console The following sections discuss each of the Audio Send parameters in detail Vision amp Studio Vision Pro Audio Reference Manual 57 PART 3 The Acadia Audio System Send Selector Use the Send Selector to tell Vision where to send the audio signal Press and hold the mouse on the Send Selector Vision opens a pop up menu of routing options 1 2 3 45 Output Pair P You can choose between the following audio send destinations No send The audio signal is not sent to an external output or bus Bus Choose Bus to open a submenu of 16 busses Sending audio to a bus is a great way to create submixes See page 76 or to share a single plug in with numer ous audio channels see page 75 Audio channels sent to busses will not be routed until the bus output is assigned to an actual hardware output Busses can be mono or stereo as specified in the Audio Instruments amp Routings Window For more informa tion see M ono amp Stereo Busses pg 59 Output Choose Output to open a submenu of monophonic outputs for your digi tal audio hardware The available outputs is determined by your audio hardware and whether they are enabled in the Audio Instru ments a
359. l probably set prefer ences using the All DSP Commands option However it may be advanta geous to specify different default save locations auto naming techniques and so on for individual DSP com mands The flexibility is there for you to use as you wish TIP Start by setting the desired preferences for All DSP Commands then set any desired differences for specific DSP commands Dialogs These options let you disable the dis play of one or both of the dialog boxes that sequentially appear follow ing your invoking of aDSP command Dialogs OI Bypass Settings Dialog O Bypass Save As Dialog The first dialog that normally appears when you invoke a DSP command is the Settings dialog box in which you set all the parameters for that particu lar DSP operation The second dialog that normally appears is a Save As dialog box that asks you to name the file select a save location and confirm or set some additional file type options If you check the Bypass Settings Dialog option then the Settings dialog box never appears This is con venient if for example you always apply the same parameters every time you choose a DSP command IMPORTANT If you check the Bypass Settings Dialog option the only way you ll ever see the Settings dialog again is to choose the DSP Preferences command and uncheck this option Therefore it s important that you check this option only if you don t intend to alter your
360. layed O EA D E scegeeree 4 E I sek PIH bisi Deck Figure 24 10 MIDI controller on a MIDI track The pencil tool is displayed when a MIDI track is selected and a M IDI controller is displayed LEE SS S Segquenea S A merer zigis Eten El instrument HH ack 2 17 Audio 1 Play Shift J m gu C Figure 24 11 Plug in parameter on an audio channel with no plug in assigned As shown in Figure 24 8 on page 267 there is no plug in assigned to Bus 1 the selected track s instrument So the Vision amp Studio Vision Pro Audio Reference Manual 267 pencil tool is not displayed when Track 3 is selected and a plug in parameter is chosen in the Strip Chart Sequence 8 ses R ireen 1 uoe UZE 17 Audio 1 Figure 24 12 Plug in parameter on an audio channel with a plug in assigned As shown in Figure 24 8 on page 267 there is a plug in assigned to the selected track s instrument Audio 1 So the pencil tool is displayed when Track 1 Is selected and a plug in parameter is chosen in the Strip Chart When more than one track is selected and the Strip Chart contents displays a value that is only appropriate for one or more of the instruments on the selected tracks the pencil tool is displayed a er Sequence Ae Figure 24 13 Strip Chart with mult
361. layed a D3 Pitch Shift Interval J semitones equivalent ta a shift Fine tune 0 cents Pitch Shift Quality Best Maintain voice character Notice that Vision automatically sets the Interval numerical to reflect the range in this case 4 half steps to indicate a downward pitch shift of a major third NOTE Vision uses the from and to numericals only as an input method for entering pitch shift intervals you do not have to enter notes in the actual key of the audio 382 Opcode Systems Inc CHAPTER 35 DSP Menu Pitch Shift Formant Shift Time Scale and Adjust Audio Tempo FORMANT SHIFT Use this command to change the for mants of any audio event s with or without changing the playback pitch Formants are what define a sound s reso nant environment for example a male and female might sing the same note but the tonal characteristics of that note are completely different This is because of the differences in their head and chest size their bone and throat structure and So on By shifting only asound s formants you can subtly or radically alter its resonant characteristics effectively altering the lis tener s perception of the singer s age sex Or personality For example e Ifyou select a female vocal and shift the formants lower then the resulting audio sounds as if it were sung by a man The pitch is the same but by altering the formants you have effec ti
362. lease the mouse button Vision will assign the recorded audio to the selected Audio Instrument You can change Audio Instrument assign ments any time in the future To learn how to assign outputs to an Audio Instrument see Output Assign ments pg 42 Record a Track Now that you ve set a record level and designated a record file into which you will record the audio you re ready to record atrack TEMPO TIP If you have any MIDI data recorded make sure you re happy with the sequence s tempo Although you can change the audio s playback tempo with the DSP gt Adjust Audio Tempo command it s always easier to do it right the first time rather than fixing it in the mix Vision amp Studio Vision Pro Audio Reference Manual 29 PART 3 The Acadia Audio System To record an audio track 1 Leave the Record Monitor Window open The Record Monitor Window must be open in order to record audio 2 Inthe Tracks Window click the R column to record enable a track just as you do when you record MIDI Long 1 e Meter 474 seqten m 1 1 0 el reels com Irae fe a rebel om ken ddd 35 instrument Fee If desired enter a new track name Select the desired record mode from the Record Mode pop up menu in the Control Bar OO Record modes are discussed in your MIDI Reference Manual gt Overdub Seq Step Replace eee aa
363. leave the name of the current file the file named in the dialog box untouched but proceed to the next file for renaming Click OK to update the name of the file in both the Finder and the File M anagement window and proceed to the next file If you click Cancel or OK you will see this dialog box Enter a new name for file Audio 1 Lead Vocals Cancel Remaining Click Cancel Remaining to leave the names of this file and all remaining selected files untouched Click Cancel to leave the name of the current file the file named in the dialog box untouched but proceed to the next file for renaming Click OK to update the name of the file in both the Finder and the File M anagement window and proceed to the next file NOTE Remember once you respond to the dialog box for a specific file that file s name iS updated immediately The file will not be affected by choosing Cancel Remaining in subsequent dialogs Cancel Remaining affects only the currently listed audio file and all files that have not yet been referred to specifically All files will show the dialog box in Figure 25 14 until you reach the last selected file in the list At that point the dialog box looks like this Enter a new name for file MonoPoly Sweep R Figure 25 14 Rename dialog box Click Cancel to leave the name of the cur rent file untouched Click OK to update the name ofthe file in both the Finder and the File M anagement
364. led its display in the DSP Preferences dialog discussed on page 423 Vision opens a Save As dialog box Select the type of audio file you wish to create name it and select a volume or folder in which to store it Click Save Vision creates a new audio file and places a new audio event in your sequence Opcode Systems Inc CHAPTER 36 DSP Menu Audio to MIDI and MIDI to Audio This new audio event sounds exactly like your original audio event but with the second note extended in duration Y ou can scale time automatically without opening the Scale Time dialog box To do SO CG Select a MIDI note 2 Hold down the Option and Shift keys then move the cursor over one of the edit points in the Graphic Window s ruler The cursor becomes a Scale Time Cursor Scale Time cursor positioned over edit point 3 Option Shift drag the edit point to lengthen or shorten the selected note scaling time as you do so Using the Process Note Until Options The easiest way to understand this option is by example EXAMPLE 1 Suppose you recorded your original audio with reverberation then performed an Audio to M 1DI conversion as shown in Figure 39 10 Gap between MIDI notes occurs when reverberation level falls to a very low level Reverberant tail Figure 39 10 Audio to MIDI conversion of reverberant notes If you change the pitch of the first M IDI note your Graphi
365. les Internal Clock Sync mode 325 Invert Phase DSP menu 55 with Phase button 55 Invert Phase command 361 L Label File M anagement example 290 291 File M anagement menu 288 length of audio events changing 194 lengthening audio events 196 Linear Fade Crossfade 374 Link Events command 350 Link Pairs 23 Record M onitor DAE 111 List window audio events 178 Audio Instrument assignment 193 audio volume pan 255 importing audio 212 selecting audio events 185 Load From Template pop up 73 Load Templates From Template pop up 68 Template pop up TDM 155 Lock Audio to Tape 327 enabling 328 Low Cut automation 279 EQ type 71 Low Pass in EQ dialog box DSP menu 367 Low Shelf automation 279 EQ type 71 M ACE 3 1 compression in Audio Format dialog 229 M ACE 6 1 compression in Audio Format dialog 229 M aintain voice character M IDI to Audio dialog box 408 Pitch Shift 381 Opcode Manual Template 443 Index M anual Conventions Choose 6 Click 5 Double click 5 Drag 5 menu items 6 Move 5 Press and hold 5 Release 5 Select 6 M aximum Fader Position 269 276 Acadia 89 DAE 173 when to set 90 M edium Audio Preferences Acadia 90 Audio Preferences DAE 174 Memory Available Buffer Size dialog 88 Memory Required Buffer Size dialog 88 M enu Items 6 MIDI only audio system 353 M IDI submenu 282 MIDI Time Code Sync mode 325 M IDI to Audio dialog box 407 M IDI to Audio command 406 changing au
366. lf the 22 255 KHz sampling rate of old M ac intosh computers It produces a file suitable for very low fidelity music playback or high fidelity speech e 16 000 This rate is one half the standard 32 kHz broadcast rate It produces a file suitable for low to medium fidelity music playback e 22 050 This rate is one half the standard 44 1 kHz CD sampling rate It produces a file suitable for medium fidelity music playback e 22 255 This is the sampling rate used by older M acintosh computers most machines now work at 44 1 kHz It produces a file suitable for medium fidelity music playback e 32 000 This Is the standard rate used In broadcast e 44 100 This is the standard sam pling rate used by audio CD players e 48 000 This is the sampling rate used by consumer DAT Digital Audio Tape machines In addition to all these options you can type any rate standard or non standard into the Sample rate field NOTE Generally you should use multiples of the Macintosh sample rate 22 255 kHz if your finished product is to be played only on Macintosh computers Otherwise you should use sample rates that are multiples of the 44 1 kHz CD sampling rate Sample Size Y ou can export audio at any of these bit depths bits 6 bits dithered Sample size 16 bits dithered 24 bits e 8 bits Produces smaller files but at a greatly reduced resolution 8 bit files are generally noisy and grainy soun
367. ling ReWire Channels You cannot enable or disable ReWire channels while playing If you need to enable or diable a ReWire channel stop playback before making the change Mono Stereo Status of ReWire Channels Y ou cannot change ReWire channels mono stereo status Each channel s mono stereo status is determined by the manufacturer and cannot be modified ReWire and Synchronization When the ReWire extension is located in the System F older gt xtensions Folder Vision s Send Sync option does not need to be enabled to sync Vision with other ReWire compatible applications All required synchronization information is communicated between applications via the ReWire extension Vision amp Studio Vision Pro Audio Reference Manual 335 However if you wish to control Vision from the transport controls of another application such as ReBirth you must check Remote Start under Options gt Sync Options When Remote Start is checked Vision s play or record button starts to flash indi cating that it can be controlled from an external source For more information about Remote Start see your MIDI Refer ence M anual Active in Background Active in Background is required when using Vision with ReBirth via ReWire and itis automatically checked whenever the ReBirth Engine extension is enabled 336 Opcode Systems Inc CHAPTER 31 Audio Scrubbing WHO SHOULD READ THIS CHAPTER T
368. lize 232 On Normalize 232 Output file size 233 Prevent Clipping Normalize 233 Sample Rate 229 Sample Size 230 Sound Designer II 228 Stereo 1 interleaved file 231 Stereo 2 mono files 231 Sun au 228 WAVE 228 Audio Instruments assigning 29 119 assignment in Graphic Window 191 assignment in List Window 193 assignment in Tracks Window 193 basics 8 colors 134 panning 254 recording from 80 recording from TDM 170 setting number of 36 Audio Instruments amp Routings see Audio Instruments window 37 Audio Instruments DAE M ute 135 naming 133 number of 133 Output 142 Plug Ins column 145 Poly 138 Sends 145 Solo 135 stereo 138 139 Voice 136 137 Audio Instruments window 35 audio channels 35 Audio Instruments 35 Busses 35 Color 38 EQs column 43 Inputs 35 M ute 40 Name 38 number of Instruments 36 Output column 42 Outputs 35 picture 35 Plug Ins column 43 434 Opcode Systems Inc Index SampleCell TDM 166 Sends column 43 Solo 40 Stereo column 41 Audio Instruments window DAE 131 Audio Instruments window menu clearing routings 146 Reset All Routings 43 146 Audio Instruments window menu DAE 146 Audio menu Active in Background 19 356 Audio Preferences 356 Audio System 353 Buffer Size 351 Conversion Overview 351 Edit Event Soundfile 348 File Management 350 Get Event Info 184 347 Hardware Setup 352 Link Events 350 M ix Audio on Capture 320 321 356 R
369. ll not hear any audio events that are assigned to either Audio 5 or Audio 6 regardless of whether Studio Vision is recording play ing or idle Vision amp Studio Vision Pro Audio Reference Manual 167 PART 4 Digidesign DAE Configuration amp Recording However if you set the Thru mode to Auto then e when Studio Vision is recording or idle you will hear the signal present at Input 1 but not any audio events assigned to either Audio 5 or Audio 6 e when Studio Vision is playing you will hear audio events assigned to Audio 5 or Audio 6 though not simul taneous events of course but not the signal present at Input 1 Virtual Consoles N ow that Studio Vision can route audio inputs through its consoles you can mon itor inputs without record enabling them For example for the configuration shown in Figure 16 19 assume you change your console to look as follows i E E H E a E B Output s inputi Figure 16 20 Sample Console Based on what you learned earlier you know that when Input 1 is record enabled and the Thru mode is set to either On or Auto then e The monitored signal from Input 1 is sent to Outputs 5 6 e The monitored signal from Input 1 is also sent to Bus 1 where reverb is added Bus 1 s volume fader controls the amount of reverb that s mixed with the signal Here s where things get interesting N otice that console channel 3 sends the
370. log 229 Import Audio in File menu 206 Import Audio dialog Acadia 207 Add All 207 Add Open 207 Cancel 208 Done 208 File Info 207 File List 207 Import 207 Import multiple files 208 Play Stop 208 Remove 208 Import Audio dialog DAE Action buttons 210 Add button 210 Cancel button 210 Desktop button 210 Done button 210 Eject button 210 File and Item Lists 210 Remove button 210 Sound File Information 210 Import Audio Using QuickTime in File menu 206 Import Bank Template pop up 68 Import List Import Audio dialog Acadia 207 Import M ultiple F iles Audio Preferences DAE 174 Import Audio dialog Acadia 208 Import Program Template pop up 67 Import Settings Template pop up TDM 155 442 Opcode Systems Inc Index importing audio Acadia 207 DAE 209 foreign file formats 219 from aCD 208 217 218 from QuickTime movies 213 Graphic window 212 if Conversion Overview appears 220 List window 212 multiple files DAE 211 shortcuts 212 stereo linked files Acadia 208 importing MIDI from a QuickTime movie 212 individual audio events exporting 225 exporting example 227 Inputs enabling 39 monitoring Record M onitor 28 119 naming 134 recording from 80 recording from TDM 169 stereo DAE 140 Instrument Record M onitor Acadia 23 Record M onitor DAE 111 Instrument setups saving 44 146 Interface Hardware Setup DAE 103 Interleave in Audio Format dialog 232 interleaved files see stereo fi
371. log 229 in Get Event Info 347 Sample Rate column in File M anagement window 285 Sample Rate Conversion 301 steps 303 two methods 302 Sample Rate Convert File M anagement menu 297 Sample Rate Size 352 Sample Size 23 in Audio Format dialog 230 in Get Event Info 347 Sample Size Conversion 302 steps 303 Sample Start in Get Event Info 347 SampleCell 165 in Audio Instruments window TDM 166 recording from 169 SampleCell TDM recording from 170 sampler creating files for example 227 Save All new events in a single file DSP Preferences 426 Save All new takes in a single file 240 Save as Default Template pop up 73 Template pop up TDM 155 Save Bank Template pop up 67 Save Bank As Template pop up 67 Save Bank as Default Template pop up 68 Save each new event in a separate file DSP Preferences 427 Save each new take in a separate file 241 Save Program Template pop up 67 Save Program As Template pop up 67 Save Settings Template pop up 73 Template pop up TDM 154 Save Settings As Template pop up 73 Template pop up TDM 154 Save with sequence files DSP Preferences 429 in Audio Recording Preferences 243 Saving Instrument setups 44 146 Scale Factor Time Scale dialog box 387 scrubbing 337 and audio Outputs 338 and Output volume 339 in the Track Overview 339 Opcode Manual Template 449 Index Select 6 Select All File Management menu 299 Select Card Type Hardware Setup DAE
372. lowing you to use more audio tracks sends plug ins and EQ bands without encountering per formance errors However when Process Ahead is checked Vision is less efficient in other ways The latency for thruing of audio is more evident using mute solo and faders in Console Windows Is less respon sive and initial playback of audio takes a little longer after clicking the Play button For general recording and editing you will probably want to disable Process Ahead However when you are ready to do your final mix down you should enable Process Ahead AUDIO PREFERENCES Use the Audio Preferences dialog to set various record and playback options for the Acadia audio system To open the Audio Preferences dialog choose Audio gt Audio Preferences Audio Preferences Maximum Fader Position Qe Smooth Audio Controllers Fade duration 50 mses _Hedium EI Dither outputs OE Process while stopped Play Offset Record Offset Figure 11 4 Audio Preferences for the Acadia audio system The components in the Audio Preference dialog include the following Maximum Fader Position Smooth Audio Controllers Dither Outputs Process While Stopped 88 Opcode Systems Inc CHAPTER 11 Acadia Optimizing for Digital Audio Play and Record Offsets All settings in the Audio Preferences dialog are saved in your Vision Prefs file In addition the settings for Maximu
373. lts with a smaller Buffer Size and more File Buffers In these cases you might start out with a a Buffer Size of 256k and gradually increase the number of File Buffers until an optimum per for mance level is achieved You may even have to experiment with changing the number of File Buffers for each of the File Buffer sizes until you find the combination that works best for you Vision amp Studio Vision Pro Audio Reference Manual 87 PART 3 The Acadia Audio System Increasing either the File Buffers or the File Buffer Size is likely to increase the number of simultaneous audio tracks you can play as well as the number of plug ins sends and EQ bands you can use AS aresult however you may notice that it takes longer to start and stop play ing digital audio This is because your M acintosh needs to fill the buffer with digital audio from your hard disk The amount of RAM required for the file buffers displayed as Memory Required is determined by the File Buffer Size File Buffers and the number of specified Audio Instruments The amount of Memory Available in your system is also displayed In general Memory Required should never be higher than the M emory Available this can lead to performance errors To reduce the amount of memory required reduce the size or number of File Buffers Process Ahead When Process Ahead is checked gen eral processing of audio for Vision is more efficient thereby al
374. m F ader Position Smooth Audio Control lers and Dither Outputs are saved with each Vision file Maximum Fader Position Figure 11 5 Audio Preferences Maximum Fader Position settings Use the M aximum Fader Position pop up to boost output volumes by up to 18 dB Adjusting the M aximum F ader Position does not recalibrate volume events auto matically but it does allow you to recalibrate them manually if you wish If a Console channel is assigned to audio volume the M aximum Fader Position Is set to 6 dB and the fader value is 0 dB the channel will look like this nnna If the M aximum Fader Position is then changed to 18 dB and the fader s value is not changed you will see this Numeric value a a T ee PY aa T j ae AS e ma e io Ma a a api Er LET PBL cess r P a P aa seat E E cea of ro a BLE a ee AEn lege or me Eata sip Eenh nas ar il ey mae Fey vit nie cae Foes rita d nems Haa D Fao ee el ell mrk i E e E a da Dame ea s A f a Mes F N otice that while the visual position of the fader is different the fader s numeric value in dB is the same If you press play now the mix will sound exactly as it did before the M aximum F ader Position was adjusted However you now have the headroom to boost audio volumes an extra 12 dB the difference between 6 dB and 18 db NOTE When boosting audio signals you should assign your outputs to console chan nels and monitor their LEDs If any
375. m Import Program Save Bank Save Bank As Delete Bank Template Copy Bank Paste Bank Import Bank Save Bank as Default Load Templates From Figure 8 8 Template Functions pop up Following is a description of each of the commands in the Template F unctions pop up Save Program Saves the current parameter settings as a program tem plate using the current program name If the program already exists as a template this command overwrites it with the current displayed set of plug in parameters Save Program As Saves the current parameter settings to a new program template With this command you are prompted to name the new program template Delete Program Template Deletes the currently selected program template Copy Program Copies the current set of plug in parameters to the Clip board which is handy for pasting programs between banks or to another program location within the same bank or to another plug in slot or console channel using the same plug in Paste Program Pastes the program from the Clipboard to the current pro gram location for the current bank Import Program Imports individ ual plug in programs saved in other VST compatible applications Save Bank Saves the current bank of programs as a bank template If the bank already exists as a tem plate this command overwrites it with the current set of programs Save Bank As Saves the current bank of prog
376. m e nt l n th e sam e track ae ie pose Be length of ms File Length New events contain data both inside and outside fade region a fewer events larger file size New events contain data inside fade region more events smaller file size 5 Figure 35 8 Completely configured Fade Drag Take 2 onto the same Crossfade Settings dialog box Audio Instrument as Take 1 5 Configure the dialog box as needed Specifically Set the Set fade crossfade lengths to manually Enable Crossfades by checking the Create box Disable Fade ins and Fade outs 376 Opcode Systems Inc CHAPTER 34 DSP Menu EQ and Fade Crossfade Set the desired crossfade length we Navigate to the folder in which you chose 150 ms shape we chose equal want to save the file power and position we chose cen By default Vision selects the folder you tered at specify in the DSP Preferences dialog If desired set the options that allow discussed on page 423 Vision to shorten or shift your crossfades Type a name for the crossfaded audio if needed file Choose whether you want to create a By default Vision suggests a name large single new file or smaller files the based on the auto naming options you length of the crossfades we chose small specify in the DSP Preferences dialog files discussed on page 423 Click OK Click Save Unless you disabled its display in the Vision creates a new audio file or files DSP Pref
377. man e Take 3 verse Take 3 Take 3 core Take 3 el BIE Paul strip chart nn et Ae a E O Figure 22 3 Unmuted Events Vision amp Studio Vision Pro Audio Reference Manual 249 PART 6 Advanced Audio Techniques Muting Audio Events in the List Window To mute audio events in the List Window CQ Click the Mute button located next to each audio event in the List Window 0 Sequence A Track 1 364 3 OP dun dunt 2 Sid 364 1274 1 O i dun dunt 3 12 240 1274 OJ Rekippin steffen 1 165 406 1274 PO To unmute click the M ute button again to toggle its state Comparing Audio Events Often you ll want to make A B compari sons between audio events or sets of audio events To do this use the Do gt Mute Events gt Toggle Mutes com mand which performs the following actions e tunmutes any selected events that are currently muted e It mutes any selected events that are currently unmuted Follow through the next example to see how to use the Toggle Mutes command CG Create the A set of audio events by muting all those events you don t want to hear This technique was discussed in Muting Audio Events pg 248 Muted Events Unmuted Events Figure 22 4 Audio Event Set A 2 Play the sequence and listen to your A set of audio events 3 Select both the audio events you wish to unmute and the ones you wish to mute
378. me e MIDI Pitch Bend range e Brightness controller selection e Status of the Use Selected Notes check box Creating a New Audio Template To save a custom Audio Template CQ Set all the Audio to MIDI parameters as desired 2 Press and hold the mouse on the Audio to MIDI dialog s pop up menu Audio to MIDI Audio Vocals male 3 Choose Add Template from the pop up menu Audio to MIDI Add Template Delete Template Update Template feats male i Rename Template Instrument st nalyz E e d ig ieee ae Vision opens a dialog box 4 Type aname for your template then click OK Vision saves the template in the SV Audio to MIDI Template file located in the same folder as the Studio Vision application Updating an Existing Audio Template You can modify an existing Audio Tem plate by selecting it in the Audio Template pop up menu changing the desired parameters then choosing Update Tem plate from the Audio to M IDI dialog s pop up menu Renaming an Audio Template You can rename an existing Audio Tem plate by selecting it in the Audio Template pop up menu then choosing Rename Template from the Audio to M IDI dia log s pop up menu Vision amp Studio Vision Pro Audio Reference Manual 405 PART 7 Menus Deleting an Audio Template You can also delete Audio Templ
379. ment Vision will automati cally turn stereo mode off for any other Audio Instruments to which one of those voices is assigned OUTPUT ASSIGNMENT The Audio Instruments Window has an Output column for each physical audio output on your digital audio interface For example Sound Tools II has four audio outputs The Session 8 has eight audio outputs as shown in Figure 15 1 on page 131 To assign Audio Instruments to outputs Choose Windows gt Audio Instruments Vision opens the Audio Instruments Window 2 Enable or disable outputs for each Audio Instrument by clicking the desired output dots A disabled output has an empty Output dot An enabled output has a highlighted dot green on a color monitor There are anumber of methods for enabling disabling outputs e Click an output dot to turn that output on and off 142 Opcode Systems Inc CHAPTER 15 DAE Audio Instruments Click the line between a pair of output dots to turn both outputs on and off Click an output number at the top of the column to turn on or off all out puts of that number Click the line between a pair of output numbers at the top of the column to turn on or off all like numbered output pairs Typical Output Assignments You should assign Audio Instruments only to the outputs where you want to hear them Hardware Specific Variations The following sections discuss specific output routing requiremen
380. mp Routings Window Sending audio to a mono output allows you to use external signal pro cessing to modify the audio signal Output Pair Choose Output Pair to open a sub menu of stereo output pairs for your digital audio hardware The available output pairs is deter mined by your audio hardware and whether they are enabled in the Audio Instruments amp Routings Window Sending audio to a stereo output allows you to use external stereo Signal processors to modify the audio Signal 58 Opcode Systems Inc CHAPTER 7 Acadia Audio Channels in Consoles Pre Post Fader Button Click this button to toggle the Audio Send between two states pre fader and post fader The button always displays the Audio Send s current state clicking it changes both the state and the label of the button Specifically e Pre Fader When the button looks like this Vision sends the audio signal to the selected destination before it passes through the channel s plug in mod ules EQ settings and volume fader The send signal is however affected by the velocity of audio events and by the status of the channel s Phase mode e Post Fader When the button looks like this Vision sends the audio signal to the selected destination after it passes through the channel s plug in mod ules EQ settings and volume fader IMPORTANT Regardless of whether pre or post is used the channel s pan fader if active
381. mplate Pop up EQ for Audio 1 mE SET Sao lt HiF ass 200 Hz Brite Piano low shelf Click on Template pop up to select from a list of EQ templates 4 band param Boom n Bass Figure 9 4 EQ Template pop up EQ templates are recalled from the Tem plate pop up in the EQ Window see Figure 9 4 Simply click on the pop up and choose from the list of EQ templates stored in the Vision Effects Templates file Choosing a template automatically reconfigures the EQ Window for the displayed audio channel 72 Opcode Systems Inc CHAPTER 9 Acadia EQ Window Template Functions Pop up The Template Functions pop up contains commands for saving copying and past ing EQ settings go e tiredo 1 Erite Fiano Chan A Audio m Save Settings Save Settings s Delete Template Load From Copy Settings Faste Settings Save as Default Figure 9 5 Template Functions pop up for EQ Following is a description of the com mands found in the EQ Template Functions pop up Save Settings Saves the current EQ settings as a template If the template already exists this command overwrites it with the cur rently displayed EQ settings Save Settings As Saves the curre
382. mply record into anew track while the other audio tracks play Because of dynamic voice allocation you will always be able to hear the audio you re recording as well as any existing audio tracks Fixed Voice Allocation Method This section applies only to those who use Vision in fixed voice allocation mode Fixed voice allocation as discussed in Voice Allocation M odes pg 136 is the default mode used by e Pro Tools III 24 M ix M ix Plus e Session 8 Project If you own one of these systems or If you use other Digidesign hardware in fixed voice allocation mode you must plan how to assign the available audio voices If multiple audio events use the same voice number then only one of them can play at a time For this reason it s important to always know how you re allocating your voices Voices get assigned in two places e Audio Instruments Window you manually assign a voice to each Audio Instrument in the Voice column e Record Monitor Window when you record audio Vision automati cally assigns an input to the voice of the same number For example Input 1 always uses voice 1 Input 6 always uses voice 6 etc 124 Opcode Systems Inc CHAPTER 14 DAE Recording Audio Any voice that Vision uses for recording is not available for playback For example if you record audio on Input 1 it will use Voice 1 and you will NOT be able to hear any existing audio events that are assigned to an Au
383. n As a result Vision checks the On Off status of each of the 4 EQ bands The first band is turned On so Vision includes the settings for each of its param eters when the faders are copied Each of the remaining bands is turned Off so Vision does not check the settings for any of their parameters In general if a parameter is set to Off none of its sub parameters will be copied However the sub parameters of disabled parameters can still be recorded and inserted in the List window or Strip Chart Example 4 A Plug In The Copy Faders command does not copy plug in parameter settings when a Console or the Faders window is active ha send OpCHORUS OpCHORUS for Audio 1 ae i opCHORLS Bypass Off Phase Invert Off Off Off oft 000 dB 000 Figure 24 22 Copy Faders with a Console window active As you can see the plug in s bypass status is copied Plug in bypass is not considered a plug in parameter None of the plug in parameters Dry Wet Filter etc have been copied 274 Opcode Systems Inc CHAPTER 24 Automation If you wish to copy a plug in s parameter settings make the plug in edit window active before choosing Copy Faders This will copy only plug in parameter data apCHORUS for Audio 1 B opCHORUS Chan Audio 1 Jm stots peer Feedback Filter LFODep
384. n of your MIDI performance on a Sample Cell card Studio Vision records directly through the TDM bus completely in the digital domain As is true with hardware inputs Studio Vision records directly from the source and does not record any inserts plug ins To record a SampleCell performance directly choose a SampleCell output in the Input pop up of the Record M onitor If you have linked pairs unchecked individ ual inputs will be available If you have linked pairs enabled you will see only SampleCell pairs in the Input pop up No effects or panning information are recorded To record that information you can either record your SampleCell tracks into Audio Instrument tracks or bus them and record from busses Discussion of those techniques follows Recording from Audio Instruments and Busses You may want to record your effects and volume information directly to anew Instrument in real time To do that you can record from an Audio Instrument To record from the output of a mono Audio Instrument CG Uncheck Linked Pairs in the Record Monitor Window e Record Monitor Rec 2692 Input 1 ANNADODONONANIN A O Guitar 00 06 26 Audio 1 D gt Input 2 Sognnnneneseeess O Bass 00 06 26 Audio 2 Thru On CO Auto Compact O Link Pairs 45 26 10 2 Clip Record File Available Instrument Linked Pairs Checkbox 2 Select the mono Audio Instrument as the reco
385. n programs For details on assigning VST plug ins from the Console Window please see Assigning Plug Ins pg 47 To open an Edit Window for aVST plug in from the Console Window CG Click the Plug In Edit button that contains the desired plug in number Cee opFLANGE Vision opens an Edit Window for the selected plug in OpFLANGE for Audio 1 H Figure 8 1 Typical Plug In Edit Window You can have multiple Plug In Edit Win dows open at the same time If an existing Plug In Edit W indow is open Option click a plug in number from the Console W indow to display that plug in in the cur rent Plug In Edit Window this helps you cut down on the proliferation of open windows Vision amp Studio Vision Pro Audio Reference Manual 63 PART 3 The Acadia Audio System The title bar of each Plug in Edit Window is based on the name of the plug in and the audio channel it affects For instance the name of the window in Figure 8 1 Is opF LANGE for Audio 1 which means that window is displaying the plug in opF LANGE for Audio Instrument Audio l You can leave Plug In Edit Windows open while Vision plays auditioning different plug in presets and tweaking plug in parameters as necessary You can even switch the plug in type during playback Some VST plug ins commonly referred to as faceless plug ins display and edit their parameters with basic sliders see Figure 8 1 while
386. n easily play at a faster tempo but audio tracks maintain their original playback speed and now lag behind the beat SOLUTION Use the Adjust Audio Tempo com mand to create a new static tempo and automatically time compress the existing audio to match it PROCESS Perform the following steps Select the audio event s you want to adjust to a new static tempo If you select a portion of an audio event the entire event will be adjusted There fore if you want to adjust only a portion of an event you must first separate that portion into a new event using the Audio gt Separate command 2 Choose DSP gt Adjust Audio Tempo Unless you disabled its display in the DSP Preferences dialog discussed on page 423 Vision opens the Adjust Audio Tempo dialog box 3 Make sure New Tempo appears in the top pop up menu Choose New Tempo from the pop up menu Adjust Audio Tempo Adjust the audio s tempo to New Tempo New tempo 110 00 The tempo track of the current sequence will be replaced by this new tempo value patent pending Figure 37 10 Adjust Audio Tempo Dialog Box for molding audio to a new static tempo If Tempo Map appears simply select New Tempo from the pop up menu as shown in Figure 37 10 4 Enter the tempo at which you want the entire sequence to play In this example we re increasing the tempo to 125 bpm New tempo 125 00 Cli
387. n fact you can even punch in and out multiple times without stopping and restarting playback To use this new capability enable the QuickPunch checkbox in the Record M onitor Window see Figure 14 6 0 Record Monitor BH 2 Input 1 Bo TS TTS TS TTS TS TST TS TT TST A Input 2 TTT TEE Y o Oo O O iO O O OQ 5 J3 J JII FPF Fe o 0 0 0 A G v er w wiw w w w ickPunch Figure 14 6 Record Monitor Window DAE QuickPunch enabled When using QuickPunch each record enabled input line uses one voice for play back and a second voice for recording Voices are available for QuickPunch only if they are not assigned to an Audio Instrument For instance if you want to use Quick Punch with two mono input channels it will require 2 free voices And if your audio hardware supports 16 voices and Studio Vision has assigned each voice to an Audio Instrument you must reassign the voices for two of the Instruments so that the required voices are made avail able i e reassign Audio 15 to voice 1 and Audio 16 to voice 2 thereby freeing up voices 15 and 16 or you could simply Vision amp Studio Vision Pro Audio Reference Manual 127 PART 4 Digidesign DAE Configuration amp Recording reduce the number of Audio Instruments by two choose Number of Instru ments gt 0O ther from the menu in the Audio Instruments amp Routings Window see Figure 14 7
388. n playing back digital audio that s synchronized via SM PTE NOTE Because Acadia can only play back audio files at the session sample rate the Lock Audio to Tape option is disabled in the Sync Options dialog 326 Opcode Systems Inc CHAPTER 29 Synchronizing Audio Playback DAE SYNCING AUDIO TO SMPTE IMPORTANT This section applies only if you re using Vision with DAE There are two methods you can use to sync digital audio to tape e Hardware Sync This is the most expensive option but is the only way to achieve tight sync with minimal audio distortion F or hardware sync you ll need a sync converter box like Opcode s Studio 64 XTC or aBlackburst generator e Lock Audio to Tape This option uses DAE s on the fly sample rate conversion in software to adjust audio playback to compen sate for the fluctuations in the SM PTE speed Unfortunately this option can introduce audible distor tion and pitch fluctuations of the audio signal The following sections discuss each of these synchronization methods in detail Hardware Sync By far the best way to sync audio to tape is with hardware synchronization Unfortu nately it s much more expensive but it s completely accurate and high quality This scenario works by adjusting digital audio playback via hardware A synchro nization box like Opcode s Studio 64 XTC is connected to your Digidesign audio interface and sends ita
389. namic M ost users will find it easiest to let Vision dynamically allocate the four voices in this audio system e Audiomedia dynamic M ost users will find it easiest to let Vision dynamically allocate the four voices in this audio system Using the Voice Column The Voice column behaves differently depending on whether you use dynamic or fixed voice allocation Specifically Dynamic Allocation If you use dynamic voice allocation then any voice can be used to play any Audio Instrument This fact is reflected by the word any in the Voice column Y ou cannot change the voice assign ment in dynamic allocation mode e Fixed Allocation If you use fixed voice allocation then you can use the Voice column to assign any voice to any Audio Instrument This is described in Assigning Voices in Fixed Allocation M ode pg 137 Assigning Voices in Fixed Allocation Mode To assign a playback voice to an Audio Instrument CG Make certain Vision is in Fixed Allocation mode as seen in the Audio Instruments Window pop up menu 2 Press and hold the mouse in the Voice column next to the desired Audio Instrument Audio Instruments Audio 3 Aa z 4 Vision amp Studio Vision Pro Audio Reference Manual 137 PART 4 Digidesign DAE Configuration amp Recording Vision opens a pop up menu listing all possible playback voices O 3 Select the desired playback voice an
390. nd folder destination for the new audio file If necessary click the Format button to specify the file format sample size Click the Save button whether the file is mixed as stereo and on The new audio file or files is written to whether the file is normalized your hard disk and the new audio replaces the original track data 7 When prompted select the Audio Instrument that will play the new audio If you use the same Audio Instrument make sure to remove or bypass the pre viously assigned plug ins and EQs since they ve already been printed to the new audio data Vision amp Studio Vision Pro Audio Reference Manual 317 PART 6 Advanced Audio Techniques Mix and Output Destinations It s important to realize that all processing present in the signal chain may affect the mixed data In addition to EQs and plug ins assigned to the actual Audio Instru ment in the Console Window any processing present on send destinations and output channels can also affect the M ix operation AIFF 16 bits Mono clipping prevented IM Use EQs plug ins etc O Bypass this dialog next ti v Outputs 1 2 Outputs 3 4 Outputs 5 6 Outputs 7 8 All Enabled Outputs Capture Pre Outputs Capture Post Outputs Figure 27 12 Output options pop up Mix dialog The Output options pop up in the M ix dialog determines which outputs will be used for the mix and whether the mix is
391. ndow C1 For the desired audio channel press and hold the mouse on the Output Selector pop up Vision produces a submenu of Output routing options Press and hold mouse on Hae Output selector no output to produce a sub Eus d Output F menu of output routing options ee Output Pair P 1 2 60 Opcode Systems Inc CHAPTER 7 Acadia Audio Channels in Consoles 2 From the submenu select an output assignment for the audio channel For information about the various output options see Output Assignments pg 61 NOTE Audio outputs are only provided for audio console channels not those assigned to MIDI Instruments Output Assignments The items in the Output pop up include e No output Select this option to dis able the output assignment for the channel e Bus Select one of sixteen internal busses By outputting numerous channels to the same bus you can create a submix or group con trolling all grouped channels with one fader and ashared collection of sends and plug ins Audio channels assigned to busses will not be heard until the bus output is assigned to an actual hardware output e Output Select a single mono output from this submenu The number of outputs is determined by your audio hardware e Output Pair Select a pair of audio outputs from this submenu If your audio signal is mono use the pan fader to position the signal within th
392. ndow to dis play that plug in in the current Plug In Edit Window which helps you cut down on the proliferation of open windows Title Bar Name The title bar of each Plug In Edit Window is based on the name of the plug in and the audio channel it affects For instance the name of the window in Figure 16 6 is TC CHORUS for Audio 1 which means that window is displaying the plug in TC CHORUS for Audio Instrument Audio l Plug In Controls The Plug In Edit Window for TDM plug ins now has a different set of controls at the top of the window each of which is described below Figure 16 6 Plug In Edit Window TDM Plug in Selector Choose a plug in from this pop up menu to assign it to the console channel or choose no plug in to remove the current one This pop up menu which is dupli cated in the Console Window displays your installed TDM plug ins Changing a plug in assignment is not possible during playback Only those plug ins that will work for the selected audio channel and slot are displayed in the Plug In Selector pop up For instance if using a stereo Audio Instrument only stereo plug ins are available Channel Specifies the audio channel Audio Instrument hardware input or output or bus being processed by the plug in Slot Displays the plug in number 1 4 and stereo mode for the plug in Templates These two pop ups let you store and recall plug in parameter sett
393. needed 555K Available 174 8 MB AIFF 11025 Hz 16 bits Mono Format d i Audio format information in a typical Save As dialog box 2 Ifthe format shown there is not supported by your audio hardware click the Format button 3 Use the resulting Audio Format dialog box to specify a format that s compatible with your hardware In you re importing audio from a standard Red Book audio CD use the Audio CD Import Options dialog box to specify an audio format NOTE If you need to convert the sample rates of some files PowerM ac users will achieve higher quality results using the DSP gt Convert Sample Rate command Users of 680x0 computers may also use the DSP command but processing times will be extremely long on these machines EXPORT OPTIONS The following sections discuss all of the audio export options available in Vision Exporting Audio and or MIDI as a QuickTime Movie You can export selected audio MIDI or both as a standard QuickTime movie file for web or CD ROM distribution IMPORTANT Although QuickTimeis an excellent final output medium for music distribution it isnot an ideal MIDI inter change format This is because as of QuickTime 2 5 MIDI tempo track infor mation can not be extracted from a MIDI sequence saved in QuickTime format If you need to share MIDI files for collabora tion use the industry standard MIDI File format To export a sequence as a QuickTime movie CQ In
394. ng Audio Volume events in the List window can always have values up to 24 dB in Acadia mode or 6 dB in DAE mode Values above the current M aximum F ader Position setting can never be recorded they can only be inserted in the List window The M aximum Fader Position setting should be made at the beginning of your session and left at that setting for the duration of the session The M aximum Fader Position setting does not directly affect audio volume events or the perceived volume of any audio events Instead it allows you to manually adjust audio volume more flexi bly This setting can be considered cosmetic because it affects only the appearance of the Consoles Faders win dow and Strip Chart If you lower the M aximum Fader Position during a session visual settings in the Consoles F aders window and Strip Chart may appear misleading as a result H ow ever the audio volume events themselves will not be affected and audio will sound as it did before the change The List window always displays numeric values accurately so audio volume events in the List window will appear as they did before the M aximum F ader Position was adjusted Audio Volume and Pan in the Faders Window As in previous versions of Vision audio volume and pan can be displayed in the Faders window and controlled by its Sliders Audio pan now has a range of 100 00 to 100 00 and audio volume now has arange of to the M aximum F
395. ng 16 or 24 bits However when the audio is output or bounced to disk it is first converted to either 16 or 24 bits depending on your ASIO driver In doing so some amount of digital quantizing occurs which can lead to unwanted digital artifacts in the audio signal noticeable as a certain grainy quality when fading a sound out When you click Dither Outputs a very small amount of random noise is added to the signal in order to mask the digital quantizing resulting in cleaner fades Process While Stopped Process while stopped Figure 11 10 Process while stopped Audio Preferences dialog When Process while stopped is unchecked Vision will not route or pro cess audio when playback is stopped One exception to this rule is when an input line is record enabled in the Record M oni tor Window If you are using an older Power M acin tosh you can turn off this option to speed up general computer performance In doing so however you will not be able to monitor hardware inputs by using Thru in the Record M onitor whenever Vision is stopped In addition any processing on audio tracks will cease immediately at the end of asequence resulting in reverb tails and delay echoes being cut off To get around this simply change the length of the sequence accordingly Vision amp Studio Vision Pro Audio Reference Manual 91 PART 3 The Acadia Audio System Play and Record Offsets Bes
396. ng Routings Audio Instruments amp Routings BS Sumber of Instruments Reset All Routings Figure 15 14 Reset All Routings command From the menu tn the Audio Instruments amp Routings Window choose Reset All Routings to e Clear all plug in and send assignments e Reset all output assignments for Audio Instruments to their default State e Set all output assignments for inputs and busses to none You can of course manually remove plug in and send assignments in the Console Window In addition you can choose Clear Console from the menu in the Console Window to clear everything in that console including plug ins and sends UM SAVING INSTRUMENT SETUPS Audio Instrument assignments are saved in each Vision file along with M IDI Instruments You may also save Audio Instruments in the Vision Setup file by using the File gt Save as Setup command See your MIDI Reference M anual for more information about the Setup file 146 Opcode Systems Inc CHAPTER 16 TDM Bussing Routing amp Plug Ins Sa enn eer MMM WHO SHOULD READ THIS CONSOLE USE WITH TDM CHAPTER EQUIPPED SYSTEMS This chapter applies only to those who Use the Console Window to route audio use DAE and own a TDM equipped sys to busses outputs and TDM plug ins tem such as Digidesign s Pro Tools III Specifically this chapter discusses the Pro Tools 24 or Pro Tools 24 M ix M ix following a
397. ng is harsher and much less tolerable than analog clipping If you clip the input level so the amplitude exceeds 0 dB the Record M onitor s Clip ping Indicator lights at that moment After the level recedes the clipping indicator remains lit to remind you that you clipped the input level and you should go back and adjust it Clipping Indicator Rec Source 36 18 i i 2 Clip ii Input AARANANAAR L GA Input 2 ANNTANNNNNNNNNN E Thru On O Link Pairs Ol When you re ready to try a different input level you can clear the clip light by click ing anywhere in the record level bargraph for that input line Monitoring the Input If you re recording directly into your com puter without running the signal through a mixing console you will need to turn on the Thru option in order to hear the Signal you re recording ei Recor Rec Source 36 18 i 8 i 2 Chip E Input 1 BERRRRERER g D Cd Input 2 SRRSSSRRSSRRe E Thru L Link Pairs Je When you turn on Thru Vision sends the audio input signal directly to the selected Audio Instrument so you can monitor it If you re using an external mixing con sole use it to route the audio signals and turn the Thru option off For more infor mation see Anatomy of the Record M onitor Window pg 22 NOTE SomeASIO drivers may exhibit a noticeable latency in thruing audio In these Instances if at all possible disable Thru and monitor record sources extern
398. nge the listen ers perception of asinger s age or gender or create radical vocal effects For example to change a female vocal into a male vocal CG Ina Graphic Window select the audio event you wish to process Choose DSP gt Formant Shift Unless you disabled its display in the DSP Preferences dialog discussed on page 423 Vision opens the Formant Shift dialog box 3 Check the Pitch option 4 Inthe Pitch side of the dialog box enter the desired amount of pitch shift In this example we selected 5 semitones NOTE Obviously the amount of pitch shift you choose depends on the context of your sequence and whether or not the vocal is spoken or sung This number was chosen only for sake of example In the Formants side of the dialog box enter some lesser amount of formant shift In this example we selected 3 semitones NOTE Generally a little bit of formant shifting goes a long way If you want to maintain natural sounding vocal charac teristics you probably won t want to shift formants by a large number of semi tones Of course you can experiment all you want with unnatural sounding effects Formant Shift Formants Pitch Shift 3 semitones Shift 5 semitones EH cents o cents i Pitch Shift Quality Best Select the desired Pitch Shift Quality from the pop up menu Vision offers two types of pitch shifting algorithms Fa
399. nging from to 24 dB Plug In Bypass Plugin 1 Bypass Plugin 2 Bypass Plugin 2 Bypass Flugin 4 Bypass Plug in bypass events control the status of the chosen plug in s bypass button These events can have values of Off or On When set to off the plug in s bypass button is out and the plug in effects the audio that passes through it When set to on the plug in bypass button is in and the plug in is bypassed and does not effect the audio For more information about bypass ing plug ins see page 51 Vision amp Studio Vision Pro Audio Reference Manual 277 e Phase Invert Phase Invert events control the status of the chosen audio channel s phase invert button These events can have Off or On val ues When set to off the audio channel s phase invert button is out When set to on the audio channel s phase invert button is in For information about the function of the phase invert button see Phase p9 55 e EQ Enable EQ Enable events control the On Off status of the selected audio chan nel s EQ so their values can be On or Off When set to On the audio chan nel s EQ toggle button is in When set to Off the audio channel s EQ toggle button is out EQ Enable events control this button amer C EA Hum these buttons EQ Enable Off events override EQ Band Enable events In order for an individual EQ band to be heard both its toggle and the main toggle must
400. niques 235 CHAPTER 21 Advanced Recording Techniques 237 Who Should Read This Chapter v ccccsssessssessssessssesssseessseess 237 Designating Separate Files for Different Takes 237 Other Recording ACtIONS ainena 238 Audio Recording Preferences sssssssssrserrsrrrserrsrrrsrrrsrrrsrrrsrrrsrrsns 240 CHAPTER 22 Auditioning Audio 245 Who Should Read This Chapter sessessisesreserrrenrnnnrrnnnrrnnnrnnerrnennns 245 Auditioning Individual Audio INStrUMents ssie 245 Auditioning Individual Audio Events sesssesssessrrerrrrerrrrrrrrerrrrrrrnn 247 Breaking Up Audio Events ssssssssessrssrrrsnrrrnnrrnnnrnnnrrnnrrnsrrenennne 247 MUNO AUNO EVENTS miria ean eaunedommen 248 CHAPTER 23 Adjusting Volume and Pan 253 Who Should Read This Chapter c ccccscscssssessssssssesseessereeees 253 The Difference Between Velocity and VolUMe sree 253 panning audio INStrUMENtS sessssesrrserrrserrrnnrrnnnrrnnnnnnnrrnnnnnnnnrrnerrrnnn 254 Setting an Individual Audio Event Level Velocity 254 Creating Volume and Pan Levels For Audio Instruments 254 Creating Faders to Control Volume and Pan ssesreerrrrers 257 Smoothing Volume and Pan Changes c cccsssesssesssessseessseeseees 261 CHAPTER 24 Automation 263 Who Should Read This Chapter sssssssssssrsesrsrrrsnrrsnrnrrrsrrrsrrserrrens 263 How Automation Events Work sesssssrsesrssrrsnrrsnrrsnnrsnrrsrnrsnrrsrrrsrrsns 263 Recording Automation Events
401. nitor Window for Session 8 Project The Record M onitor Window used by a Session 8 Project system is identical to the window discussed in Anatomy of the Record Monitor Window pg 110 The Record M onitor Window used by Sound Tools II is similar to the window discussed in Anatomy of the Record M oni tor Window pg 110 except e There are only four inputs because the Sound Tools II systems are capa ble of recording only four Simultaneous channels of digital audio Audiomedia II II O e Record Monitor 45 26 10 2 Clip Record File Available Instrument O Link Pairs Level ia C Auto Compact Figure 13 6 Typical Record Monitor Window for Audiomedia Il amp Ill The Record M onitor Window used by Audiomedia II and III is similar to the window discussed in Anatomy of the Record M onitor Window pg 110 with the following exceptions e There are only two inputs because the Audiomedia systems are capable of recording only two simultaneous channels of digital audio Vision amp Studio Vision Pro Audio Reference Manual 113 PART 4 Digidesign DAE Configuration amp Recording There is an additional Level numerical Since the Audiomedia card has no Knobs for adjusting input levels you can use this numerical to adjust the input volume within a range of 0 7 114 Opcode Systems Inc CHAPTER 14 DAE Recording Audio This chapter
402. nk Pairs the Instrument pop up should use a stereo Audio Instrument 6 The recording instrument Audio 1 is Would you like to make Audio 1 stereo Click Cancel to leave all Audio Instru ments stereo status untouched and return to the Record M onitor Click Don t M ake to leave all Audio Instruments stereo status untouched and proceed to the Save dialog Click M ake to make the selected Audio Instrument in this case Audio 1 stereo and proceed to the save dialog If you choose Cancel or Don t M ake you Should manually make the selected Audio Instrument stereo or select another ste reo Audio Instrument for recording When you record linked pairs they appear in the Graphic Window as a single audio event but with unique left and right waveforms Figure 14 3 Linked Pairs Audio Event as it appears in the Graphic Window 122 Opcode Systems Inc CHAPTER 14 DAE Recording Audio If you later decide to unlink events that you recorded with the Link Pairs option enabled you can do so by selecting them and choosing Audio gt Unlink Events For more information see Unlink Events pg 350 You can record as many simultaneous tracks as your hardware allows For example if you have a four track record ing system you can record up to four mono tracks simultaneously or two stereo tracks equalling four channels Each simultaneously recorded input must have its own record file In
403. note on velocity e Post Fader ia When the button looks like this Studio Vision sends the audio signal to the selected destination after it passes through any of the channel s TDM Inserts and the volume fader The channel s pan fader if active has no effect on the Audio Send For example Figure 16 13 shows atypical console channel with aTDM plug in and two Audio Sends one pre fader one post fader Output 3 4 p Figure 16 13 Typical Console Channel Strip Figure 16 14 illustrates the actual audio signal flow through the console channel shown in Figure 16 13 Lado zehe L r reer carg LEGEND main audio signal path rn audio send signal path Output 7 8 Pueatpe Ca E Figure 16 14 Actual Audio Signal Flow of Figure 16 13 Vision amp Studio Vision Pro Audio Reference Manual 161 PART 4 Digidesign DAE Configuration amp Recording Send Level Use this numerical to set the level of audio signal to send to the destination Shown tn the Send Selector Values range between 0 and 127 where e Q no audio signal is sent to the send destination e 127 100 0f the audio signal level is sent to the send destination Sending Audio to an External Signal Processor Use a Send to route one or more Audio Instruments to a hardware output which is connected to a signal processor in your recording studio Bring the processed signal back into the console on another channel that
404. nt EQ settings to a new template With this command you are prompted to enter a name for the new EQ template Delete Template Deletes the cur rently selected EQ template Load From Loads a set of EQ tem plates from a Vision Effects T emplates file that is not current The loaded templates are merged with the cur rent set Copy Settings Copies the current EQ settings to the Clipboard which is handy for pasting EQ settings to another audio channel Paste Settings Pastes the EQ set tings from the Clipboard to the current EQ Window for the displayed audio channel Save as Default Saves as default the current EQ settings Then each time a new file is created in Vision audio channels will use those settings by default Vision amp Studio Vision Pro Audio Reference Manual 13 PART 3 The Acadia Audio System 14 Opcode Systems Inc CHAPTER 10 Acadia Bussing Routing amp Bouncing to Disk USING BUSSES AND SENDS The following sections illustrate some uses for busses and sends with the Acadia audio system Routing to Shared Plug Ins Creating Effects Sends This example illustrates how to configure a Console Window with two sends routed to two shared VST plug ins see Figure 10 1 Elg f mja bebebeeeeeeee amp N M M Mi Mi M M Mi M M N L Ti gt Figure 10 1 Audio Instruments routed to shared plug ins This particul
405. nter the number of half steps that you want to shift the formants Positive values shift the formants up which produces the effect of decreasing the size of the singer s resonant head and chest cavities making it sound as if the audio were sung by a smaller individual Negative values shift the formants down creating the sensation that the audio emanated from a larger singer If desired set a fine tune amount for the formant shift 50 cents Click OK Unless you disabled its display in the DSP Preferences dialog discussed on page 423 Vision opens a Save As dialog box c Audio 1 HD Desktop Er Cancel Process event s into My Song 001 Form Space Needed 1 4 MB O Bypass this dialog next time Available 863 6 MB Figure 37 4 Save As Dialog for Formant Shift When you formant shift audio Vision constructs one or more new audio files depending on the file saving option you select in the DSP Preferences dialog box discussed on page 423 It leaves your original audio file or files unaffected Use the File Format pop up menu to specify the desired file format AIFF or Sound Designer Il Navigate to the folder in which you want to save the file By default Vision selects the folder you specify in the DSP Preferences dialog discussed on page 423 Type a name for the shifted audio file By default Vision suggests a name based on the auto naming options you specify in the DSP
406. number of con ventions that make it easier to discuss and understand the program Mouse Actions The following terms are used to describe various mouse actions Click When the manual instructs you to click position the mouse where you re told and press once on the mouse button then immediately release it Double click When the manual instructs you to double click position the mouse where you re told and rap idly press and release the mouse button twice Press and hold When the manual instructs you to press and hold posi tion the mouse where you re told press the mouse button and hold it down until instructed to release it Release When the manual instructs you to release let up on the mouse button which you were probably holding down because of an earlier press and hold instruction Drag When the manual instructs you to drag position the mouse where you re told then press the mouse button and hold it down as you move the mouse Move When the manual instructs you to move the mouse simply move it to another location on the screen without pressing its button Vision amp Studio Vision Pro Audio Reference Manual PART 1 Introduction to Digital Audio Choose vs Select The words choose and select are often interchangeable in conversational english In this manual however there is a distinction between the two terms e Select When the manual tells you to select s
407. o track When recording from a mono Audio Instrument and a series of mono to mono plug ins the signal goes to the volume fader then is recorded in mono 80 Opcode Systems Inc CHAPTER 10 Acadia Bussing Routing amp Bouncing to Disk To record from a stereo Audio Instru ment or if you have a mono Audio Instrument using mono to stereo plug ins CG Check Linked Pairs in the Record Monitor Rec Source G Audio 1 MAGN r PTET Link Pairs Thru On 2 Select the desired stereo Audio Instrument from the Record Source pop up 0 e Rec Source 36 18 Gi Audioi h Samp I a ol c 3 Make sure that you are recording to an unused stereo Audio Instrument Record as you would any audio track When you record from Audio Instru ments and busses your volume fader movements affect the volume of the recording the actual amplitude of the recorded signal Any plug ins E Qs that are assigned to those Instruments are also recorded Vision records the signal from Audio Instruments and busses post volume fader but pre pan fader unlike hardware inputs Any real time changes you make to plug ins are also recorded In all cases you cannot record from an Audio Instrument if its output is not assigned to a hardware output Recording from Busses You may want to record a master mix or submix from the output of a bus that has several plug ins on it In this c
408. o 8 000 MACE 3 1 MACE stands for M acin 11 025 tosh Audio Compression and 11 12 Expansion This version creates an 16 000 8 bit file with a maximum upper fre 22 050 quency response of 11 kHz barely 22 255 acceptable for music reproduction 32 000 MACE 6 1 This version creates an 44 100 8 bit file with a maximum upper fre 48 000 quency response of 5 5 kHz acceptable only for speech files 5 564 This rate is one fourth the IMA 4 1 1MA stands for Interactive 22 255 kHz sampling rate of old M ac M ultimedia Association Use it to intosh computers It is very low compress CD quality 16 bit files fidelity and should be used only for with a 4 1 compression ratio In gen speech and only if file size must be eral it produces a much higher absolutely minimized fidelity file than M ACE Vision amp Studio Vision Pro Audio Reference Manual 229 PART 5 Basic Audio Editing amp Playback e 7 418 This rate is one third the 22 255 kHz sampling rate of old M ac intosh computers It produces a low fidelity file that in general is useful only for speech e 8 000 This rate is one fourth the Standard 32 kHz broadcast rate It produces a low fidelity file that in general is useful only for speech e 11 025 This rate is one fourth the standard 44 1 kHz CD sampling rate It produces a file suitable for very low fidelity music playback or higher fidelity speech e 11 127 This rate is one ha
409. o files so that they point to the new copied 292 Opcode Systems Inc CHAPTER 25 File Management files Click Cancel to leave references to that single audio file untouched Click Cancel Remaining to leave all refer ences to remaining selected files untouched NOTE Once you respond to the dialog box for a specific file that file s references are updated immediately The file will not be affected by choosing Replace Remaining or Cancel Remaining in subsequent dia logs Replace Remaining or Cancel Remaining affect only the currently listed audio file and all files that have not yet been referred to specifically Each file will show the dialog box in Figure 25 8 until you reach the last selected file in the list At that point the dialog box looks like this Replace all audio event references to the original file MionoPoly Sweep R with the new copy of the file Click Cancel to leave references to the audio file untouched Click Replace to change the sequence s references to the audio 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 will contain twice the number of audio files it did before using the command x File Management Size Unused Type SR Hz Chans 303 loop 1 140bpm 1 0 58 MB 0 00 MB AIFF 44100 Mono e Audio 1 4 1449MB 3 76 MB MooY 44100 Stereo 16 a
410. o all of the audio systems supported by Vision AUDITIONING INDIVIDUAL AUDIO INSTRUMENTS NOTE This method works best for audi tioning large sections of continuous audio such as an entire verse or chorus If you wish to separate a take into smaller audio events such as individual words or phrases use the audio event auditioning method discussed in Auditioning Individ ual Audio Events pg 247 The following method discusses how to audition multiple takes by assigning each take to a Separate Audio Instruments Q Assign each recorded take to a different Audio Instrument in the same track In this example three different takes are assigned to three different Audio Instruments O Sequence D Track 1 a SFC a FO ee ee ces ry 5 3 E3 De Sr Bezel C T E E Figure 22 1 Assign multiple takes to different Audio Instruments 2 Use the Mute M or Solo S buttons for each Audio Instrument to find the takes you want Auditioning with the Mute or Solo buttons is discussed further in Auditioning with the Mute Buttons pg 246 and Audition ing with the Solo Buttons pg 246 Vision amp Studio Vision Pro Audio Reference Manual 245 PART 6 Advanced Audio Techniques 3 Once you ve identified the best take you can get rid of the remaining takes by selecting the unwanted Audio Instruments and typing the Delete key Selecting Audio Instruments
411. o file or files for the modified audio It creates one or more new audio events to play that audio replacing the original audio event s in your sequence NOTE If you never want to see this Save As dialog box again that Is you always accept the default name and folder click the Bypass this dialog next time option in the Save As dialog box Should you wish to makethe Save As dialog reappear choose DSP gt DSP Prefer ences select Premiere Plug Ins from its Apply to pop up menu then uncheck the Bypass Save As Dialog option Previewing Effects Y ou can preview the effect that a Pre miere plug in has on your audio file The preview is the first 10 seconds of the first selected audio event played from its beginning and looped continuously If the audio event is less than 10 seconds then the entire audio event is used and it too loops continuously If you select a portion of an audio event then Vision uses the first 10 seconds of the selected range or the entire range if the selection is shorter than 10 seconds NOTE Audio preview uses RAM that s external to the RAM partition set aside for Vision If there s not enough RAM left in your system then the audio preview bor rows RAM from Vision If Vision cannot spare all the RAM required for the audio preview it will simply shorten the length of the preview Recalling Parameter Settings Some higher quality plug ins Such as Opcode s fusion
412. o import both the left and right files Simply import one and both will be imported as a single stereo audio event For this to happen both files must reside in the same folder they must be the same length and audio format and they must have identical names with appropriate L R extensions for instance vocals L and vocals R or vocals L and vocals R Stereo Audio Events and Audio Instruments When importing stereo audio events from either linked stereo files or stereo inter leaved files the next available stereo Audio Instrument notin use is assigned If none are available the next available mono Audio Instrument is assigned Importing Audio from CD ROMs When importing audio files from CD ROMs you are prompted to save the imported files to a folder on your hard disk This allows the files to be destruc tively edited if desired and it allows their waveforms to be displayed 208 Opcode Systems Inc CHAPTER 20 Import Export Cornucopia Importing Audio with DAE If you use DAE you can import audio files stored in any of the following file formats e Sound Designer e Sound Designer I e AIFF e Dyaxis Vision can play and manipulate these files directly without having to convert them first You can import audio recorded at any sample rate Eight bit files cannot be imported with DAE If you want to work with 8 bit files use Vision with Acadia To import audio CG Open a Graphic or List
413. o output no output no output Snd Mgr no output no output no output no output no output no output 1 Ch 11 1 Ch 12 1 Ch 13 1 Chi4 1 Ch15 1 Ch 16 OSH GSD CEN EN CE VC OG FE CS CS CE Cc ooqoooqooooeqooeoooooaq E ED CN EN FOC PO MCD SRR TE RE OC CD ED ICE te ed a Enable any Retro channels you wish to use These inputs should match the Retro MIDI channels that you re using in step 1 Remember each enabled input requires RAM so it s best to enable only the inputs you plan on using Open a Console Choose Build Console From gt Enabled ReWire Channels from the Console window pop up menu Press Play and you ll hear your MIDI tracks 7 Look at the Console you set up in step 4 Retro s audio appears in the appropriate Console channels While listening set up your mix and assign any sends plug ins EQs etc that you d like Console 1 no plug in Setting Retro AS 1 s Audio Output If Retro s Audio Output is set to some thing other than Plug in when you launch Vision with ReWire installed you will see this dialog box In order to use a plug in with the Retro AS 1 audio output Plug in must be selected in the Retro AS 1 Control Panel See step 1 on page 333 for an explanation 334 Opcode Systems Inc CHAPTER 30 ReWire Te ADDITIONAL REWIRE NOTES ReWire Inputs ReWire
414. obably want to start with Best unless the processing times become too long If desired check Maintain voice character This option lets you pitch shift an audio event without inducing Darth Vader or Chipmunk effects the pitch shifted signal retains all the vocal characteristics of the original performance so it sounds as if the same singer is simply singing in a different key Enabling this option requires more com putation and therefore more processing time You can use this option with any type of audio not just vocals but the results may be less noticeable because for mants are less pronounced in non vocal instruments Click OK Unless you disabled its display in the DSP Preferences dialog discussed on page 423 Vision opens a Save As dialog box lt gt Audio 1 HD Desktop Process event s into Cancel My Song 001 Up ae Space Needed 1 4 MB Available 863 6 MB File Format AIFF gt 16 bit Mono O Bypass this dialog next time Figure 37 2 Save As Dialog for Pitch Shift When you pitch shift audio Vision con structs one or more new audio files depending on the file saving option you select in the DSP Preferences dialog box discussed on page 423 It leaves your original audio file or files unaffected Use the File Format pop up menu to specify the desired file format AIFF or Sound Designer Il Navigate to the folder in which you want to save the file
415. oca tion pg 199 Dynamic voice allocation is the default mode for e Acadia e Audiomedia e Sound Tools ll e ProToolsi amp Il If Vision is using fixed voice allocation read Audio Playback with Fixed Voice Allo cation pg 202 Fixed voice allocation is the default mode for e Digidesign Session 8 Project e Digidesign Pro Tools III 24 M ix M ix Plus AUDIO PLAYBACK WITH DYNAMIC ALLOCATION If Vision uses dynamic voice allocation as set in the Audio Instruments M enu in the Audio Instruments Window audio events will play back as discussed in this section PRO TOOLS III 24 Mix Mix Plus SESSION 8 Project if you re using one of these Digide sign products skip ahead to Audio Playback with Fixed Voice Allocation pg 202 Voice Allocation and Audio Events If multiple audio events overlap in the same track and are assigned to the same Audio Instrument playback defaults to the audio event with the later start time For example Vision amp Studio Vision Pro Audio Reference Manual 199 PART 5 Basic Audio Editing amp Playback Assume you have two overlapping audio events in a track as shown in Figure 19 1 2 2S Se S5 4s Figure 19 1 Overlapping Audio Events in a Track 2 Click Vision s Play button Vision plays the first audio event begin ning at measure 21 but abruptly stops playing that event and starts playing the second audio event when the Counter reac
416. of outputs shown in the sub menu is determined by your audio hardware Sending audio to a mono output allows you to use external signal pro cessor to modify the audio signal You can then return the processed Signal back into a different console channel For more information see Sending Audio to an External Signal Processor pg 162 Output Pair Choosing this option opens a sub menu from which you select the stereo output pair to which you want to send the audio signal The number of outputs shown In the submenu Is determined by your audio hardware Sending audio to a stereo output allows you to use external stereo signal processors to modify the audio signal For more information see Sending Audio to an External Signal Processor pg 162 160 Opcode Systems Inc CHAPTER 16 TDM Bussing Routing amp Plug Ins Pre Post Fader Button Click this button to toggle the Audio Send between two states pre fader and post fader The button always displays the Send s current state clicking it changes both the state and the label of the button Specifically e Pre Fader i When the button looks like this Studio Vision sends the audio signal to the selected destination before it passes through anything else in the channel This means the signal that you send is not affected by the chan nel s TDM Inserts volume or pan faders The volume level is however still affected by the audio event s
417. oice 8 to Audio Press and hold the mouse in the Instrument 2 and so on Voice column next to one of the Click the Stereo column next to any stereo Audio Instruments Audio Instrument you want to use for Vision opens a pop up menu listing all etched playpack possible voice pairs In this example click in the Stereo column for Audio Instrument 1 O Audio Instruments le Sa Audio Instruments T T 2 Select the desired voice pair and release the mouse button 3 Notice that Vision also enables stereo mode for Audio Instrument 3 Reason Audio Instrument 3 uses Voice 3 which is part of a stereo pair Recall that Vision groups stereo voices sequentially 1 amp 2 3 amp 4 5 amp 6 and so on 4 Also notice that the Voice column changes to show that Audio Vision amp Studio Vision Pro Audio Reference Manual 141 PART 4 Digidesign DAE Configuration amp Recording Instruments 1 amp 3 now use a pair of voices for stereo playback To change the voice pair used by a stereo Audio Instrument Press and hold the mouse in the Voice column next to one of the stereo Audio Instruments Vision opens a pop up menu listing all possible playback voices OS gt audio Instruments menz instrument 2 Select the desired voice pair and release the mouse button NOTE If you turn off stereo mode for an Audio Instru
418. ollowing is a list of parameters con tained in the basic Audio to M IDI dialog box Audio Template pop up menu From this pop up menu select the template that most closely matches your audio s characteristics The tem plate you select determines the default setting of every Audio to MIDI parameter with the excep 398 Opcode Systems Inc CHAPTER 36 DSP Menu Audio to MIDI and MIDI to Audio tion of MIDI Instrument selection Y ou can create your own audio tem plates as described in Creating Custom Audio Templates pg 405 Audio Instrument fixed This field shows the name of the Audio Instrument containing the audio data you wish to convert You cannot change this field it appears here only as areminder Input Range numericals This set of numericals tells Vision what your audio file s pitch range Is When you select an Audio Template Vision automatically sets the range numericals to a reasonable default based on the overall pitch range of the characteristic instrument If you have arough idea of the pitch range actually used by your audio file you can improve Audio to M DI perfor mance by manually adjusting the range numericals Pitch Bend Exceeds numerical This numerical tells the conversion algorithm how much audio pitch bending to accept before generating a new MIDI note This is further described in the following examples Example 1 An electric guitar pla
419. om of the dialog box shows the Sample size format of the file s you re about to save Channels No Change vj If you want to change the file format click the Format button to re open the Audio Format dialog box O Bypass this dialog next time Cancer Click the Select folder name button Vision saves each of the audio events as Use the dialog box to define the its own audio file in the selected folder format of the new files you wish to In this example we selected three audio create events so the procedure results in the creation of three new audio files The Audio Format dialog box is dis cussed in depth in Anatomy of the Audio iy P EN Adi qd dA Format Dialog Box pg 228 b b lrum att Lrumil aTr AFE YTT 226 Opcode Systems Inc CHAPTER 20 Import Export Cornucopia Example Creating Files for a Sampler M any third party audio sampling CDs contain multiple samples in a single track For example a single track might contain numerous different but related drum loops You can use the Export Audio Events command in conjunction with other Vision commands to assemble individual digital versions of each drum loop CG Import a track from the audio sampling CD This operation was discussed in Import ing Audio from a Standard Red Book Audio CD pg 217 2 Use Vision s Audio gt Strip Silence command to separate the file into individual audio events
420. omething it stays selected This is the case with menu options that turn something on off e Choose When the manual tells you to choose something a one time action is performed This is the case with most commands they perform their chosen action only once Menu Items This manual uses a shorthand technique to invoke various menu items For instance this manual might say Select Audio gt Waveform Display gt F ast What this means in plain English is select the Fast option from the Audio menu s Waveform Display submenu Although the shorthand technique results in sub standard grammar it s easier to read and decipher than a complete sen tence because It displays the menu s hierarchical structure plainly and simply Retain SR Separate ST Waveform Height gt Waveform Display gt iy v Display Names v Fast N High Resolution v Mix Audio on Capture Figure 1 1 Shorthand Invocation of Menu Items Audio Preferences 6 Opcode Systems Inc CHAPTER 2 Basic Terminology ee OUTPUTS VOICES AND AUDIO INSTRUMENTS Different audio hardware has different playback capabilities Your audio hard ware determines e the number of physical audio inputs and outputs e the maximum number of audio voices that can play at one time Frequently there are more internal voices available than physical outputs F or example your hardware may have only two audio ou
421. ompare Figure 27 3 on page 309 and Figure 27 5 on page 310 to see an example STRIP SILENCE VS SLICE AUDIO Try making some settings in the Strip Silence dialog box and applying them to an audio file with Strip Silence selected in the pop up menu Then choose Edit gt U nde Strip Silence and select Slice Audio in the Strip Silence pop up menu Don t change any other settings click Slice Audio You should see results like these Starting with one long event like this Ga _ sini _p j gives this result if Strip Silence is chosen Lead Vocal Lead Yo or this result if Slice Audio is chosen Lead Vocal Lead Yc Figure 27 6 Using Strip Silence and Slice Audio As you can see slicing audio results in the same beginning points for events but each event continues until the beginning of the following event When stripping silence each audio event ends as soon as its volume falls below the silence threshold 310 Opcode Systems Inc CHAPTER 27 Strip Silence and Slice Audio hen eee rea STRIP SILENCE DIALOG BOX When you select one or more audio events and choose Audio gt Strip Silence Slice Audio Vision opens the Strip Silence dialog box Strip Silence Silence threshold 24 dE 40 mecs 1 mzecs Minimum duration Attack time Release time 20 msecs Strip Silence Figure 27 7 Strip Silence Dialog Box As can be seen in Figure 27 7 the Strip Silenc
422. on itor Window changes slightly depending on the type of hardware specified in the H ard ware Setup dialog Please see Chapter 3 Acadia Hardware Setup for details on configuring your audio hardware Vision amp Studio Vision Pro Audio Reference Manual 21 PART 3 The Acadia Audio System 0 h SSS Ss ecord Monito w N ee Source 56 188 A pnp Recorgiite __Avatigbie_tstroment ee ANATOMY OF THE RECORD Input 1 Input e SOOO OSS H L Crone 0i 33 40 Audio Audio Fi Typical Record Monitor Window with two input lines MONITOR WINDOW The following items discuss each element in the Record M onitor Window shown on page 22 Record Monitor menu Contains the pop up menu item for Audio Record Preferences See Chapter 21 Advanced Recording T ech niques in your Audio Reference M anual for details red if Vision is in play mode and has the possibility of recording such as with punch in it then turns solid red when Vision begins to actually record No Color The input line is not enabled and will not record audio Record Source Choose from this pop up menu the record source from which you will record Record sources include hardware inputs and outputs busses and Audio Instruments Record Enable Indicators Click a When Link Pairs is checked input Record Enable Indicator to enable and output pairs are available from recording from the specified record this po
423. on amp Studio Vision Pro Audio Reference Manual 325 PART 6 Advanced Audio Techniques You can set Vision s Sync M ode from either the Sync Options dialog or from the Control Bar Sync Options Studio 5 Printer Receive Sync e MTC Machine Control Send Sync M oo i SMPTE Format 30 fps go Remember these settings in sequence files Cancer Co Select sync options either from the Sync Options dialog box or from the Control Bar s Master Sync Mode pop up menu g g TREE Clock 7 External Beat Clock MIDI Time Code A Remote Start Figure 29 1 Setting the Sync Modes For acomplete explanation of the Sync Options dialog please see the M IDI Refer ence M anual ee ACADIA SYNCING AUDIO TO SMPTE IMPORTANT This section applies only if you re using Vision with Acadia When you use Vision with Acadia it cannot compensate for varying tape speeds during SM PTE synchronization audio always plays at the session sample rate Therefore audio events will start at the correct SM PTE times but the sound may drift out of sync if the tape speed starts to deviate from its nominal speed When using Acadia the best way to syn chronize digital audio to tape is to either e record short audio events or e break up existing long audio events into smaller pieces This minimizes any timing discrepancies that may occur whe
424. on of the dialog box by a check box If you have installed multiple Pro Tools cards you ll need to check the System Accelerator check box if you want to record or play more than four tracks of simultaneous audio Select Card Type Pro Tools Audiocard J System Accelerator Figure 12 6 Card Types available for Pro Tools or Pro Tools Il and a System Accelerator In the rare case that you have only one Pro Tools audio card and a System Accel erator you should still check the System Accelerator check box because you ll get much better performance due to the System Accelerator s dedicated SCSI port though you will be able to record and play only from the disk connected to that SCSI port When using multiple Pro Tools cards you ll see a Card to Use pop up menu displaying the slot number for each card Cards To Use Figure 12 7 Card to Use pop up for Multiple Pro Tools cards e Ifyou have multiple Pro Tools cards and no System Accelerator or if the System Accelerator option is unchecked in the Select Card Type area use this pop up menu to select which Pro Tools card you ll use with Vision You cannot record and play back more than four tracks of audio unless you have the System Accelera tor card and have enabled that option e Ifyou have multiple Pro Tools cards a System Accelerator and have checked the System Accelerator option in the Select Card Type area this pop up menu will let you either select betwe
425. onstrain cursor movement to a specific metric value turn on Cursor Quantize and select a quantize amount from the pop up menu o A Cursor Quantize Button Cursor Quantize Value pop up Menu 3 Move the cursor into the lower select region of an audio event 4 Drag across the range you want to select Notice that Vision selects portions of all audio events in the specified time range Ld Guitar Pad Guitar Selected Region spans all Audio Instruments Figure 18 25 Selecting a time range spanning all Audio Events NOTE Audio events assigned to different Audio Instruments appear in different rows in a Graphic Window See Changing Audio pg 191 to learn how to move audio events between Audio Instruments 188 Opcode Systems Inc CHAPTER 18 Working with Audio Events Simultaneously Selecting MIDI Audio and Strip Chart Events To simultaneously select M IDI notes audio events and Strip Chart data CQ Inthe Graphic Window select the l Beam cursor by clicking its icon cD k Ena 1 anai aaa 2 Press and hold the mouse in the ruler area in the upper portion of the Graphic Window where the bar numbers are displayed and drag across the time range you want to select Vision selects all events in the time range R th tan tl Pad Guitar ee daa a ae PM trl rt i Guitar Chords Gui Te A key verity mA Drag in the ruler are
426. ord This may be because you have eliminated certain takes or because you have deleted por tions of Some audio events such as with the Audio gt Strip Silence command Even though you have deleted the point ers to the unwanted digital audio the actual audio remains on your hard disk Y ou can see which audio files are used by the current Vision file information about those audio files and how much of the audio file is actually used by the sequence file All of this information is available in the File Management dialog box To open this dialog box choose Audio gt File Management File Management s Size Unused Type SR Hz Chans its 1 0 58 MB 0 00 MB AIFF 44100 Mono 4 14 49MB 3 76 MB Moo 44100 Stereo MonoPoly Sweep L 1 0 46 MB 0 00 MB Sd2f 44100 Mono MonoPoly Sweep R 1 0 46 MB 0 00 MB Sd2f 44100 Mono Figure 25 2 Typical File Management Dialog Box OVERVIEW OF THE FILE MANAGEMENT DIALOG BOX The File M anagement dialog box contains information about each audio file used by the active Vision file Since each file may use a unique group of audio files the File M anagement dialog box displays only the audio files relating to the active Vision file Vision amp Studio Vision Pro Audio Reference Manual 283 PART 6 Advanced Audio Techniques In addition the File Management dialog box allows you to see how much of an audio file is unused by the Vision file and if desired delete th
427. ore can deliver a reliable SMPTE time code source making the use of Lock Audio to Tape unnecessary 328 Opcode Systems Inc CHAPTER 30 ReWire Vision now includes ReWire support This powerful feature allows audio signals from ReWire compatible applications to be routed directly through Vision s con soles providing the same sends plug ins and EQs you have access to with any other audio signal in Vision WHO SHOULD READ THIS CHAPTER This chapter applies to Acadia users with ReW ire compatible applications ABOUT REWIRE Vision s implementation of ReWire allows three very important functions e Audio Streaming ReWire allows up to 64 channels of audio to be routed real time from one application to another e Sample Accurate Synchronization After Vision and your ReWire compat ible soft synth detect each other Sample accurate sync happens automatically e Transport Functionality The transport controls of all ReWire compatible applications in your system are automatically linked You can press play stop etc in any appli cation and all will perform in sync Vision amp Studio Vision Pro Audio Reference Manual 329 o gt O M CONFIGURING YOUR SYSTEM FOR REWIRE Follow these simple steps to configure your system to work with ReWire 1 Put the ReWire extension in your System Folder gt Extensions folder 2 Install a ReWire compatible application for use with Vi
428. ormat of the new files you wish to Select a region of time over which create you want to mix the audio events into The Audio Format dialog box is dis a new file cussed in depth in Anatomy of the Audio In this example we dragged across a Format Dialog Box pg 228 12 bar region in the Graphic Window s Click the Audio Format dialog s OK ruler selecting three audio events and button a fade in fade out volume curve Vision opens a Save As dialog box Sequence A Track 1 Macintosh HD Mix event s into Cancel Space needed 576K Available 301 1 MB Choose File gt Export Audio Mix Sn A 22 ap le Oats Nie tiekia Vision opens the Audio Format dialog box 5 Use the dialog box to name the file and navigate to the folder or volume File format in which you wish to save it Compression Audio Format The bottom of the dialog box shows the sulle Uae format of the file you re about to save If Sample size you want to change the file format click Channels the Format button to re open the Audio Mamalia Format dialog box Output file size 3 5 MB Click the Save button O Bypass this dialog next time Vision mixes all selected audio events Cancer and volume and pan events to create a new audio file Additional Options in Acadia The Export Audio M ix command contains an additional Use EQs plug ins etc option in Acadia mode
429. ort Belay Cno plug in The Audio Instrument represented in this channel uses the Short Delay TDM plug in 150 Opcode Systems Inc CHAPTER 16 TDM Bussing Routing amp Plug Ins MONO AND STEREO TDM PLUG INS Studio Vision supports the following TDM routing options e mono in mono out e mono in stereo out e stereo in stereo out Studio Vision represents these routings graphically in the Console Window as shown in Figure 16 4 ROR ja SE k 5 Audio Instr MONO Plug In NONE no plug in l E Audio Instr MONO Plug In MONO ape a T a 1 a i 1 Band Eq Lift je Audio Instr MONO Ba Se Plug In MONO IN STEREO t Shor Delay OUT CIME sono Gee nore 1 eee Plug In STEREO TARS Audio Instr STEREO or MONO See NOTE 1 Plug In NONE Eno plug in Figure 16 4 Graphic Indication of Stereo Status NOTE 1 A mono Audio Instrument will have stereo plug in inputs if the TDM plug in above it contains a mono in stereo out plug in For more information see Using Mono TDM Plug Ins pg 152 Using Stereo TDM Plug Ins Assume you ve created a stereo Audio Instrument voicing as set in the Audio Instruments Window audio Instruments amp Routings Audia 1 1 Output 1 2 o o S Audio z a Output 1 2 o o Audio 3 a Output 1 2 o o Audio Instruments are STEREO as indicated by the chec
430. ose to delete it if desired CAPTURING A MIX Capturing a mix is the process of mixing together entire sequences into a new track or sequence by having Vision actu ally internally play all the data you want mixed To capture digital audio in the mix you must use one of the E dit gt Cap ture commands in conjunction with the Audio gt Mix Audio on Capture option 320 Opcode Systems Inc CHAPTER 28 Mixing Digital Audio Bouncing Unlike the Mix command capturing will mix all audio and M IDI data into a new track or sequence Capturing is a process that redefines your sequence as a Serial stream of events It plays data from your Original sequence into a destination sequence or track and reinterprets the timing of data in real time so that data is stored as a chronological stream of events Capturing is discussed in detail in your MIDI Reference M anual Y ou can either capture a sequence to a track using Edit gt Capture Seq gt Track or you can capture a sequence to another sequence using Edit gt Capture Seq gt Seq If you capture to a track a single stereo or mono audio event will go into that track along with any other non audio events If you capture to a sequence the single audio event is placed in the first track and any other MIDI or text events are placed in other tracks one MIDI Instrument to a track Mixing with the Capture Command IMPORTANT When you mix digital audio by captur
431. others have more elab orate graphic controls for their parameters see Figure 8 2 0 VINYL for Audio 1 g E Plug in fvinyL Chan saen JWE E N 3 ae Template Slot 1 Program 41 Default BS mz Poe ond er es CONDITION Se dir 9 iss E Trigger Setup Copy to B e Import Export Figure 8 2 Opcode s Vinyl plug in In addition to the plug in s display of parameters Vision adds some additional controls at the top as shown in Figure 8 3 or bottom of the window i Figure 8 3 Plug In Edit Window Specifically Plug in Selector Choose a plug in from this pop up menu to assign it to the console channel or choose no plug in to remove the current one This pop up menu which is dupli cated in the Console Window displays your installed VST plug ins Only those plug ins that will work for the selected audio channel and slot are displayed in the Plug In Selector pop up For instance if using a stereo Audio Instrument only stereo plug ins are available See page 51 for details Template These two pop ups let you store and recall programs and pro gram banks See Saving and Recalling Plug In Programs and Banks pg 65 for more information 64 Opcode Systems Inc CHAPTER 8 Acadia Plug in Edit Window Program This pop up menu chooses from the current ban
432. otice the amount of unused space is now zero and the waveform is entirely black t Side Pattern 6 10 81 MB 0 00 MB AIFF 44100 Stereo 16 Synth loop 2 130bpm AlF 1 0 33 MB 0 00 MB AIFF 44100 Mono 16 The unused data is no longer on your hard disk Consolidate Consolidate copies audio data from one or more audio files referenced by the active Vision file and places them together into a single audio file The origi nal files remain untouched and the new file contains only data actually used by the active Vision file The consolidated data is placed side by side in the new file this command does not mix audio events All events in the active Vision file that ref erenced the files you consolidated will now point only to the data in the new file When you consolidate files you ll see the new file displayed in the File M anage ment dialog box the waveform display will be completely black showing that all data in the audio file is in use by the active Vision file You will also see the original files displayed but the waveform display will be completely grayed out indicating that no data in those files is being refer enced by the active Vision file Vision amp Studio Vision Pro Audio Reference Manual 287 PART 6 Advanced Audio Techniques Consolidating files is useful in a couple of cases e You ve finished editing a song and for simplicity you want one Vision file that references one consolidated
433. ou can also adjust the velocity values for audio events Changing the velocity value affects only the audio event to which it s assigned it does not affect any other audio events even if they re assigned to the same Audio Instrument Because of this distinction velocity for audio events and volume events have dif ferent uses Specifically e Use velocity to set static output levels for each audio event e Use audio volume events to create dynamic volume changes for entire Audio Instruments For example assume you have a track of multiple drum kit audio events all assigned to the same Audio Instrument Set a velocity for each drum audio event to create the accenting you want Then use the Audio Instrument s volume events as an overall volume control for the entire drum set Vision amp Studio Vision Pro Audio Reference Manual 253 PART 6 Advanced Audio Techniques PANNING AUDIO INSTRUMENTS The panning events discussed in this chapter refer to mono audio instruments which are assigned to stereo outputs Stereo audio instruments or mono audio instruments which are assigned to mono outputs cannot be panned This is reflected in two ways e Pan events assigned to stereo Audio Instruments or mono audio instru ments assigned to mono outputs are ignored e Stereo Audio Instruments or mono audio instruments assigned to mono outputs in Consoles do not have Pan faders TE SETTING AN IND
434. ou never want to see this Save As dialog box again that is you always accept the default name and folder click the Bypass this dialog next tme option in the Save As dialog box Should you wish to make the Save As dialog reappear choose DSP gt DSP Prefer ences select Time Scale from its Apply to pop up menu then uncheck the Bypass Save As Dialog option 388 Opcode Systems Inc CHAPTER 35 DSP Menu Pitch Shift Formant Shift Time Scale and Adjust Audio Tempo ADJUST AUDIO TEMPO Use this command to mold your audio data to a sequence tempo This command Causes your audio to stretch and com press to fit either the existing Tempo M ap or an entirely new static tempo Vision molds the audio to a sequence tempo by time scaling it always making sure that your audio plays at its original pitch no matter what the tempo There are two ways to use the Adjust Audio Tempo command e You can adjust the selected audio to match the tempo of an existing Tempo M ap e You can adjust the selected audio to match anew static tempo The following sections illustrate examples of both processes Adjusting Audio to a Tempo Map Follow through this example to see why this process is useful and how to perform it SCENARIO Assume you ve already recorded your MIDI and audio tracks and you re putting the final touches on the sequence You decide that the song needs amore energetic ending
435. ow you want Vision to generate MIDI volume data There are two choices R elative f you select this option Vision generates a different M IDI velocity value for each note then gen erates MIDI volume levels based on the changes in volume relative to the note s velocity Absolute f you select this option Vision gives all MIDI notes a velocity value of 100 and uses only M IDI volume data to mirror the dynamics contained in your audio performance NOTE If you un check the Generate Volume option then Vision always gen erates dynamic MIDI velocity data B rightness controller pop up menu From this pop up menu select which MIDI controller will play the extracted brightness data if the Brightness option is checked NOTE If your MIDI device doesn t respond to the standard M IDI bright ness controller messages you can use this pop up menu to assign brightness data to any MIDI controller then con Vision amp Studio Vision Pro Audio Reference Manual 401 PART 7 Menus figure your synthesizer so that the selected controller modulates its VCF frequency or another similar parameter Use selected notes option Check this option to extract feel character istics pitch bend volume brightness from the audio data and apply them to user specified M IDI notes For more information see Using the Use Selected Notes Options pg 403 Fewer Choices button Click this
436. owing sections discuss each column in the Audio Instruments amp Rout ings Window Please note that not all columns apply to all four sections Audio Instruments inputs outputs and busses The configuration of the Audio Instru ments amp Routings Window Is saved with each Vision file and can be saved with the Vision Setup file Vision amp Studio Vision Pro Audio Reference Manual 37 PART 3 The Acadia Audio System Name This column displays the name for each Audio Instrument input output and bus Custom names can be typed in for each item for instance vocals for an Audio Instrument or M aster L R for a bus To rename an Audio Instrument input output or bus Click in the Name column for the desired audio channel O A Audio Instruments amp Routings _ A B Instruments al udio 1 nd Mngr Audio 2 Audio 3 Snd Mngr 0 0 0 Audio 4 Spd Maw a n n The name becomes highlighted Type in the new name and then type Return 0 A Audio Instruments amp Routings AB Audio 1 Snd Mngr 0 0 0 Snd Mngr 0 0 0 Snd Mngr 0 0 0 rll Mere s n n Changes to the names are automatically updated in other windows dialogs and pop up menus To return a name to its default highlight the desired name and type the Delete key Color Like MIDI Instruments each Audio Instrument can have its own color which is used for displaying
437. ox Fade in Length Enter the desired fade in length If the set fade crossfade lengths pop up at the top of the dialog box Is set to use selection range then this field is disabled since it s set automati cally to the length of your audio selection 370 Opcode Systems Inc CHAPTER 34 DSP Menu EQ and Fade Crossfade Fade in Shape Q Select the desired fade in shape lin ear or exponential from this pop up menu The choice you make is indi cated graphically in region Fade in Illustration Illustrates the fade in shape chosen by pop up menu Minimum Length fade in option and length setting If Vision is unable to create a fade in of the length entered in perhaps because the audio event is shorter than the fade in length enable this option to allow shorter fade lengths down to the specified minimum Fade in Enable Disable option and Minimum Length fade out option and length setting If Vision is unable to create a fade out of the length entered in perhaps because the audio event is shorter than the fade out length enable this option to allow shorter fade lengths down to the specified minimum F ade out Enable Disable option If you don t want Vision to generate any fade outs when you process the audio uncheck this box For exam ple if you want to create only crossfades or fade ins then disable the fade out option There are many ways to create fad
438. p up otherwise hardware source The Record Enable Indicator inputs and outputs are listed as mono has three states sources Solid Red When an input line is Record Levels Use these LEDs to record enabled this indicator is solid monitor the audio level from the spec red ified record source Flashing Red The indicator flashes 22 Opcode Systems Inc CHAPTER 4 Acadia Record Monitor Window Clipping Indicators This indicator lights when an audio level reaches 0 dB and stays lit until you reset it by clicking anywhere within the Record Level indicator for the offending channel Record File pop up Press and hold this icon to open a pop up menu of record file options These options let you enable a new record file append new audio to an existing file or close an existing record file Record File This column displays the name of the files to which audio data is recorded Available Recording Time This column displays the amount of recording time available based on the amount of free disk space and other recording parameters Audio Instruments Use this pop up menu to assign an Audio Instrument for each record source or linked pair Use Audio Instruments to group related audio events to associ ate controller data with specific events and to associate audio events with particular outputs Thru Use this pop up menu to select one of three audio thru options On Select On if the signal you re
439. pen a Graphic or List Window and set an Edit In Point Alternately you could click in the Track Overview area of the Tracks Window to automatically set an Edit In Point for the desired track 2 Choose File gt Import Audio Using QuickTime An Import dialog box appears 4 Egor Web Y Macintosh HD B Anctanmi au Hush au i Co Source Files Preview fa Teardrps au Convert You can preview any supported audio file by checking the Show Preview option clicking the Create button then using the standard QuickTime control bar that appears in the Preview area In the dialog box navigate to the file you wish to import then click Convert A Save As dialog box appears fa Desktop Y c Macintosh HD amp Audio CD 1 Audiol HD fludia2 HD Macintosh HD E RAM Disk Save converted file as Teardrps aiff Space needed 1 3 MB Available 307 1 MB Format AIFF S bits Mono Navigate to the folder or volume in which you want to save the file and type the desired name NOTE If you re using digital audio hard ware that requires its own dedicated hard disk such as Pro Tools III IV you should import the audio onto the disk that s connected directly to your audio hardware not the disk that s connected to your computer s SCSI port If you don t you won t be able to play the imported audio Look at the Format information at the bottom of the dialog box T
440. pre or post outputs F or instance suppose you wish to mix some audio assigned to Audio 1 which is assigned to Outputs 1 2 but also has a send routed to Bus 1 which iS assigned to Outputs 3 4 If you wanted the signal mixed through both Audio 1 and Bus 1 and their respective EQs and plug ins you would need to choose All Enabled Outputs from the pop up To use just the processing on Audio l choose Outputs 1 2 If your particular audio hardware has just one output pair or if you generally use just a single output pair this is less of an issue The two options listed at the bottom of the Output options menu determine whether processing assigned to the output pairs is bypassed Since you can assign EQs and plug ins to output pairs they too can affect the mixed signal If Capture Pre Outputs is checked the processing assigned to the output pairs is bypassed for the mix If Capture Post Outputs is checked all processing assigned to the output pairs is used To ensure that the mixed audio reflects precisely what you are hearing on play back specify All Enabled Outputs and Capture Post Outputs in the M ix dialog s Output options pop up NOTE If Dither Outputs is enabled in the Audio Preferences dialog it too will affect mixed events For information on Dither Outputs see Chapter 11 Acadia O pti miz ing for Digital Audio in the 4 1 M anual Supplement Export Audio Mix The checkbox option for Use EQs plug
441. ps of Audio Instruments to a bus for sharing plug ins e Route Audio Instruments to busses to record a mix of the group Displaying Audio Sends To display Audio Sends for audio chan nels in the Console Window Q From the Console Window s menu press and hold the mouse on the Audio Sends item Vision produces a submenu of send options P SS fnnsa Channel Width b a Audio Sends gt Fa None 2 Sends 3 S5e nc 4Sends 56 Opcode Systems Inc CHAPTER 7 Acadia Audio Channels in Consoles 2 From the submenu select the number of Audio Sends you want to display per channel O Ep SSS canso eS Channel Width e Audio Sends aa None 1 Send Plug Ins 2 Sends 3 S5e0nG 4Sends Vision adds a Send area to each audio channel in the console O EH cansai ha tid Hn ne i nl no send tno send no send no send i no send jl tno send tno send no send i j E e o lt 0 Ee IH Ls ed Ls MN SI m E s Ea s Ea a la vt 2 2 2 2 3 F a a a a a a a i ais Er Ti defined MEF E wo new undefi Outputs 1 2 Outputs 1 2 Ar cites per a Anatomy of the Send Area Figure 7 13 Anatomy of the Send area The Send area once enabled contains the following items Send Selector pop up Pre Post Fader button Send Level NOTE The Pre Post Fader button and Send Leve
442. r files unaffected Use the File Format pop up menu to specify the desired file format AIFF or Sound Designer Il Navigate to the folder in which you want to save the file By default Vision selects the folder you specify in the DSP Preferences dialog discussed on page 423 Type a name for the tempo adjusted audio file By default Vision suggests a name based on the auto naming options you specify in the DSP Preferences dialog discussed on page 423 D Click Save Vision creates a new audio file or files for the tempo adjusted audio It creates one or more new audio events to play that audio replacing the original audio event s in your sequence NOTE If you never want to see this Save As dialog box again that is you always accept the default name and folder click the Bypass this dialog next time option in the Save As dialog box Should you wish to make the Save As dialog reappear choose DSP gt DSP Prefer ences select Adjust Audio T empo from its Apply to pop up menu then uncheck the Bypass Save As Dialog option Vision amp Studio Vision Pro Audio Reference Manual 391 PART 7 Menus Adjusting Audio To A New Static Tempo Follow through this example to see why this process is useful and how to perform it SCENARIO Assume you ve added a perfect vocal track to your MIDI sequence but you d like the whole song to be a bit faster PROBLEM M IDI tracks ca
443. rM ac com Using the MIDI to Audio Command The following sections discuss a few of the many uses for the MIDI to Audio command Fixing Wrong Notes One of the simplest and most useful fea tures of MIDI to Audio conversion is using MIDI data to correct mistakes in an audio performance To do so C1 Select an audio event and convert it to MIDI data Audio to MIDI conversion is discussed in detail in Audio to MIDI pg 396 puters will probably want to start with Best unless the processing times become too long Maintain voice character option This option lets you pitch shift an audio event without inducing Darth Vader or Chipmunk effects the pitch shifted signal retains all the vocal characteristics of the original performance so it sounds as if the same singer is simply singing in a different key Enabling this option requires more com putation and therefore more processing time You can use this option with any type of audio not just vocals but the results may be less noticeable because for mants are less pronounced in non vocal instruments 408 Opcode Systems Inc CHAPTER 36 DSP Menu Audio to MIDI and MIDI to Audio 2 In the MIDI track that Vision generates use standard MIDI editing techniques to correct the wrong note You could either drag the note to the cor rect pitch or modify the pitch bend data in the Strip Chart depending on ho
444. rams as a new bank template With this command you are prompted to name the new bank template Delete Bank Template Deletes the current program bank template Copy Bank Copies the current bank of programs to the Clipboard for past ing to another Plug In Edit Window Paste Bank Pastes the bank of pro grams from the Clipboard into the current Plug In Edit Window Vision amp Studio Vision Pro Audio Reference Manual 67 PART 3 The Acadia Audio System Import Bank Imports program banks saved in other VST compatible applications This command does not automati cally save the imported bank as a Vision bank template To do so choose Save Bank Save Bank as Default Saves the current bank of programs as default for the plug in Each time the plug in is later assigned to an audio channel this bank of programs is automatically made current Load Templates From Loads all program and bank templates for this plug in from a Vision Effects Templates file that is not current The loaded templates are merged with the cur rent set 68 Opcode Systems Inc CHAPTER 9 Acadia EQ Window To open an audio channel s EQ Window EDITING EQ SETTINGS from the Console Window This chapter discusses the components found in the EQ Window where you can disable and enable individual EQ bands specify the EQ type for each band and view the EQ curve For details on displaying EQs for au
445. raphic Window Move the cursor into the top third of the waveform the upper select region Upper Select Region Figure 18 16 The Upper Select Region is the Top Third of the Audio Event s Waveform If your cursor is positioned in the center of this select region it will become a Ver tical Move cursor if your cursor is in the left of the select region it will become a Horizontal Move cursor if it s in the right 184 Opcode Systems Inc CHAPTER 18 Working with Audio Events it will become a Right Trim cursor dis cussed in Changing Audio Event Lengths pg 194 ate Horizontal Move Cursor ah yr Vertical Move Cursor i Right Trim Cursor Figure 18 17 The Three Editing Cursors 2 Click the mouse The entire waveform becomes hollow to indicate it s selected Figure 18 18 Selected Audio Event in Graphic Window List Window Selection To select an entire audio event in the List Window simply click its selector dot 647 0 lt ickin guitar 366 z O M dun dug Audio 5 12g 240 1274 M skippinfSsteffen 1 165 7 406 1274 Selected audio event Figure 18 19 Selected Audio Event in List Window Tracks Window Selection To select an entire audio eventin a Tracks Window CG Inthe Tracks Window select the Arrow cursor 2 Inthe Track Overview click the desired audio event to select it Phrases fli itar i 1 Selected
446. rd While most M acs have built in RGB ports you can achieve better screen resolution and faster screen redraws by using an internal graphics card with dedicated video RAM Disk Resources The green Disk bar in the Performance Window indicates the percentage of disk resources in use by Vision There are a number of factors that affect disk resources M ost importantly make sure you have a fast or wide SCSI hard disk When shopping for a hard disk always look for drives with the fastest speeds for the fol lowing parameters e Average Seek Time e Average Access Time e Rotation Speed e Sustained Data Transfer Rate NOTE Some manufacturers sell hard disks designed specifically for audio and video applications These hard disks are com monly referred to as AV disks Your hard disk should have an asynchro nous driver In addition avoid hard disks that use automatic thermal calibration If unsure consult with your computer dealer When purchasing a hard disk get the largest you can Digital audio can take up a lot of space for each minute of stereo audio at 44 1 kHz you will use 10 MB of disk space It s also smart to have an external hard disk dedicated solely for your Vision files and audio files with another hard disk reserved for your system software and applications When your disk resources become low check the following e If your hard disk becomes defrag mented as i
447. rd File DNNNNDONNNADRNE E O Guitar DNNNANANNNANANN A O Bass DNNNANNNNANANNN A N vocal 1 DNNNNNNNNNNNNNN A O vocal 2 C Auto Compact Available Instrument 00 06 26 Audio 1 00 06 26 Audio 2 00 06 26 Audio 3 00 06 26 Audio 4 O Link Pairs Figure 13 2 Typical Record Monitor Window for Pro Tools amp Il The Record M onitor Window used by a basic Pro Tools and Pro Tools II system is similar to the window discussed in Anatomy of the Record M onitor Window pg 110 except e There are only four inputs because the basic Pro Tools and Pro Tools II systems are capable of recording only four simultaneous channels of digital audio Pro Tools I or Il with 8 or More Channels The Record M onitor Window for multiple Pro Tools cards when used with the System Accelerator card is similar to the 4 channel window except it contains more rows for the additional input channels 112 Opcode Systems Inc CHAPTER 13 DAE Record Monitor Window Record Monitor 45 26 10 2 Clip Record File earl PI RAIER AEA SAAN iit espe aR Available DRRRRRRRRRDDDNTN 1 N vocal Takes Left RRRRRAN11100110 BOD vocal Takes Right ANNADTANNNDNNNN A O none 00 14 30 00 14 30 ____ oo Manama iii i O Crone RRRRRRRRARDDINT 1 D Lead Guitar Parts RRRRRRRANI11111 1 D Orchestra Lett FRRRRRRRRRNNNNN 1 D Orchestra Right 00 14 30 FERRRRRNNTI011 8 O
448. rd source from the Input pop up o i Rec 43 726 i Cy Audio 1 a fa feta att i Input 2 HENNEN Thru On 3 Make sure that you are recording to an unused Audio Instrument 4 Record as you would any audio track When recording from a mono Instru ment and a series of mono to mono plug ins the signal goes to the volume fader then is recorded mono 170 Opcode Systems Inc CHAPTER 16 TDM Bussing Routing amp Plug Ins To record from a stereo Audio Instru ment or if you have a mono Audio Instrument with a mono to stereo plug in CG Check Linked Pairs in the Record Monitor Window 1 2 Link Pairs 2 Select a stereo Instrument as the record source from the Input pop up F Rec 43 26 ea k BENEP 3 Make sure that you are recording to an unused Audio Instrument 4 Record as you would any audio track The pan fader has no effect because by the time the signal reaches the volume fader it is already stereo When you record from Audio Instruments and busses your volume fader move ments affect the volume of the recording the actual amplitude of signal Any plug ins that are assigned to those Instruments will also be recorded Studio Vision records the signal from Audio Instru ments and busses post volume fader but pre pan fader unlike hardware inputs and SampleCell TDM Any real time changes you make to plug ins will also be recorded In all cases you
449. rdware Support OPENING THE RECORD MONITOR WINDOW To open the Record M onitor Window CG Choose Windows gt Record Monitor Vision opens a Record Monitor Window similar to the one shown on page 110 NOTE Your Record Monitor Window may appear different depending on the type of Digidesign hardware you use TIP You can also open the Record M onitor Window directly from the Control Bar by clicking the Record Indicator button ij Vision amp Studio Vision Pro Audio Reference Manual 109 PART 4 Digidesign DAE Configuration amp Recording Typical Digidesign Record Monitor Window this one for Pro Tools Project ANATOMY OF THE RECORD MONITOR WINDOW The following items discuss each element of the generic Record M onitor Window shown above Record Levels Use this area to view the audio input level when recording audio Clipping Indicators This indicator lights when an audio level exceeds 0 dB and stays lit until you reset it by clicking anywhere within the Record Level indicator for the offending channel Input Source This column shows the name of each audio input for your digital audio interface With TDM systems you have a pop up of choices Record Monitor Pop up Menu Use this to select Audio Recording preferences See Audio Recording Preferences pg 240 Record Enable Indicators Click a Record Enable Indicator to record the audio arriving at the corresponding inp
450. re 37 6 Time Scale Dialog Box shown in Bars Beats Mode 4 Enter a new time scale factor in the Time Scale dialog box Use one of the three methods discussed in Setting a New Time Range pg 387 6 Click Scale Unless you disabled its display in the DSP Preferences dialog discussed on page 423 Vision opens a Save As dialog box c Audio 1 HD Desktop Process event s into Cancel EEG Available 863 6 MB Space Needed 1 4 MB O Bypass this dialog next time Figure 37 7 Save As Dialog for Time Scale When you time scale audio Vision con structs one or more new audio files depending on the file saving option you select in the DSP Preferences dialog box discussed on page 423 It leaves your original audio file or files unaffected Use the File Format pop up menu to specify the desired file format AIFF or Sound Designer Il 7 Navigate to the folder in which you want to save the file By default Vision selects the folder you specify in the DSP Preferences dialog discussed on page 423 Type a name for the scaled audio file By default Vision suggests a name based on the auto naming options you specify in the DSP Preferences dialog discussed on page 423 9 Click Save Vision creates a new audio file or files for the scaled audio It creates one or more new audio events to play that audio replacing the original audio event s in your sequence NOTE If y
451. record a single mono audio track in Vision Designate a Record File To record audio you must first designate where to store it on your hard disk This is called the record file To designate a record file for a monopho nic input Choose Windows gt Record Monitor Vision opens the Record Monitor Window ip Reco DNNNONNNNONNNNN A C none Input 2 BTS TST TS TTS TT TST Ta Ts TTB Thru On O Link Pairs CO Auto Compact Sample Size 16 bits Figure 5 1 Typical Record Monitor Window 2 For the desired input line specify a mono hardware input from the Record Source pop up 3 Record enable the input by clicking its Record Enable Indicator O p SS Reco na Sea CF Input2 PITT TTT TTT TT M Then 7 i Vision opens a Save As dialog 4 For the record file enter a name folder destination and file type AIFF or Sound Designer Il 5 Click the Save button The name of your record file is displayed in the Record File column the Record Enable Indicator is lit indicating record ing on that input is enabled and the amount of available recording time is dis played in the Available column as determined by the amount of free space on your hard disk _ Record Monitor 2 Clip Record File Available Instrument 9888 O Shuffle Audio 1 03 10 41 Audio 1 HO Audio 2 C Auto Compact Sample Size 16 bits
452. rger files If you select Separate Vision applies the DSP process only to the selected time range In your sequence it sepa rates the original audio event and inserts the newly processed audio event into the selected time region If you select a region of an audio event then apply a DSP command to it Reverse in this example the resulting audio event looks as follows Original Audio Events New audio event created by DSP operation is only as long as the original selection This option saves disk space since DSP operations contain only the affected region However it results in more audio events for you to keep track of Vision amp Studio Vision Pro Audio Reference Manual 425 PART 7 Menus If you select One Event Vision cre ates anew audio event the same length as the one you re processing DSP operations are performed on the selected time range and any audio outside that range is copied to the new audio event creating a single new event If you select a region of an audio event then apply a DSP command to it Reverse in this example the resulting audio event looks as follows 1 1 1 New audio event cre ated by DSP operation is as long as the origi nal event the new file contains both the reversed audio and a copy of the unaffected non reversed audio z1 23 a Reversed audio This option creates larger files on disk but results in easier editing sinc
453. rm The vertical axis represents amplitude and the horizontal axis represents time Figure 18 5 shows a waveform zoomed in to show two cycles of a simple sine wave 100 o Crossing Amplitude Time Figure 18 5 Simple Waveform Sine Wave You can separate audio event waveforms into sections so that you can manipulate ranges of sound For instance If you recorded someone speaking you could rearrange the words in any order cutting and pasting sections of the waveform Ranges you separate during edit opera tions become new audio events with new begin times and durations Slippery Mix 1 Slippery Mix 1 Figure 18 6 Audio Event from Figure 18 4 after Dividing into 3 Separate Events Zooming In When editing a waveform it is often useful to zoom in as far as possible to see a specific portion of the audio event Vision s Tracks and Graphic windows are both bar beat unit based rather than Sample based and you cannot zoom in to more than one unit per pixel There are 480 units in one quarter note Audio density changes with tempo If you re editing an audio event ina sequence whose tempo is set to 60 bpm raising the tempo of the sequence to 240 bpm will allow you to zoom in four times as far in relation to the audio This happens because a faster tempo results in fewer samples per bar beat unit which means fewer samples per pixel The sam ples appear to be more spread out on the screen when
454. rm Display submenu to set a waveform display resolution The three waveform display options are e Fast Allows Vision to redraw wave forms fairly quickly a useful feature during recording sessions e High Resolution If you are zoomed in enough displays waveforms in greater detail than Fast mode show ing clearly the peaks and valleys of the waveform a useful feature during editing procedures e Off Displays a waveform as a rectan gular bar This takes Vision virtually no time to draw and Is useful if you want to work extremely quickly and viewing the waveform is not a concern Each of the options is discussed in detail in the following sections Off You ll notice immediately after recording that it takes time for Vision to compute the wave data summary If you want to save time during recording sessions you can disable all computation of the sum mary by disabling the waveform display To do this check Off in the Audio gt Dis play Waveform submenu Audio will be represented as rectangular bars in the Audio Instrument s color which takes Vision virtually no time to draw Figure 32 15 Waveform Display Off You can perform editing operations on audio bars if you don t care about viewing the waveform However Strip Silence is not possible Fast Checking Fast allows Vision to redraw waveform displays fairly quickly which is especially desirable when you re record ing or playing back audio
455. rnrrsnnrsnrrsnrrsrrrsrrrsrrsns 146 COM SVEN a either ecnenbeeniiets 146 Saving Instrument Setups ssssssssrsssrrerrrsrrrnenrnnnnrnnnrnnnnrrnernrnnrrnenrnnne 146 CHAPTER 16 TDM Bussing Routing amp Plug ins 147 Who Should Read This Chapter v ccccssscessssessssesssresssseeesstens 147 Console use with TDM Equipped systems cccceesessseesseeeeees 147 Creating a Console with TDM PIUG INS ccccsesesssesssseeesteess 148 ASSIGNING TOM PIUGA NS onnaa 150 M ono and Stereo TDM PIUGAINS cccsscccssseesesstessssresessressenressenees 151 PCOS CIE VV TA GOW nnne 153 Bypass NO PIUG TNS erep 155 AICO O GOULS eesi ENN 155 AUGO SONOS raai a cates cahctein 158 Creating Groups Real World EXaMple ssssssssesrrerrssrrserrrerrsees 163 SAM DISC ell SUPPO Tsarina 165 Signal Routing and M onitoring sssssssssrsssrrsenrrsnnrnenrrrerrrnerrreerrrerrrnes 166 Recording from Alternate Sources in the TDM Chain 008 169 CHAPTER 17 DAE Audio Preferences 173 Maxim m Fader POSIMON snenimnnunnnanmnaa a 173 Smooth Audio ControllerS ssesssssresrrssrssrrrerrrsrrsnrrnnrrsnrrsnrrnrrnseeas 174 Import M ultiple Fil S ssessssesrsesrrrenrrrerrrsnnrrnnnrnnnrrnnnrnnnrrnnnnrnerrrnrrresnns 174 Opcode Manual Template V Table of Contents PART FOUR Basic Audio Editing amp Playback 175 CHAPTER 18 CHAPTER 19 CHAPTER 20 Working with Audio Events 177 Audio Events in Different WINGOWS s ssssssssssr
456. rs the bus you re using is set to stereo in 6 Assign any desired plug ins to the Audio Instruments amp Routings the bus channel enable the Window channel s EQ and adjust the EQ 3 Assign the outputs of all three gain faders as needed singers channels to the newly created bus Plug in assignment ncn semanas Lil Plate Rev EQ enabled E E E z E E E E a E H E E E E eee E e 127 no output s E Outputs assigned to a bus Analog L R 4 Assign the output of the bus to your main L R outputs Notice that by processing all three sing ers as a single group you re saving valuable CPU resources by affecting all three singers with a single set of plug ins 7 Use the bus channel s volume fader to mix the volume of the processed backup singers into the final mix wo z z E C C z C C E E E C z E Ez Analog L I 7 Bus output assignment Vision amp Studio Vision Pro Audio Reference Manual 77 PART 3 The Acadia Audio System SIGNAL ROUTING AND MONITORING As discussed in Monitoring the Input pg 28 Vision lets you monitor hard ware Inputs from the Record M onitor Window As illustrated in Figure 10 3 notice that e Inthe Record M onitor Window Input 1 is assigned to Audio 5 e Inthe Audio Instruments amp Routings Window Audio 5 is assigned to Output pair 5 6 O Record Monitor 4
457. rt Audio Events Page Setup Print Preview Print Centrally located collection of Import and Export options Figure 20 1 File Menu Vision amp Studio Vision Pro Audio Reference Manual 205 PART 5 Basic Audio Editing amp Playback The following list provides a brief over view of the File menu s import export commands e Export as QuickTime Movie This command has two main functions 1 exporting MIDI as a QuickTime movie 2 exporting audio as a QuickTime movie Both of these operations are dis cussed in Exporting Audio and or MIDI asa QuickTime Movie pg 221 e Import Audio The Import Audio command oper ates differently depending on which audio hardware you use See mport ing Audio with Acadia or MIDI Only pg 207 or Importing Audio with DAE pg 209 depending on which audio system you use Import Audio Using QuickTime This command has numerous functions 1 importing audio tracks from a QuickTime movie See Importing Audio from a QuickTime M ovie pg 213 2 importing audio directly from a standard audio CD See Importing Audio from a Standard Red Book Audio CD pg 217 3 importing various industry stan dard audio formats that are not native to Vision such as au and wav See Importing Foreign Audio File Formats pg 219 e Export Audio Mix Use it to create stand alone audio files for multimedia or web applications See Exporting
458. ruing audio In these cases if at all possible disable Thru and monitor record sources externally RECORDING FROM AUDIO INSTRUMENTS BUSSES AND OUTPUTS You can choose practically any place in the audio signal path as arecording source This allows you to record digitally and bounce to disk without having to patch a single cable With the Acadia audio system Vision allows recording from hardware inputs and outputs Audio Instruments and busses For instance you can e Record a master mix of all your tracks with effects and EQ To do this route all channels to a single stereo bus and record from it e Bounce groups of tracks with or without effects to a bus for recording a submix e Print the effects from a track Record from the output of an Audio Instrument to record its audio events along with any assigned plug ins and EQ Before reading this section you should be familiar with all recording techniques as discussed in Chapter 5 Acadia Record ing Audio and all the bussing concepts described previously in this chapter In general to record from any place in the Signal path CG Configure your console with plug ins sends EQs and busses 2 In the Record Monitor Window specify the record source from Vision amp Studio Vision Pro Audio Reference Manual 79 PART 3 The Acadia Audio System the Record Source pop up menu Rec Source C2 Input 1 k FESHANE G
459. s amp Routings Window choose Reset All Routings to e Clear all plug in and send assignments e Reset and disable all EQ settings e Reset all output assignments for Audio Instruments to their default first two outputs e Set all output assignments for inputs and busses to none Vision amp Studio Vision Pro Audio Reference Manual 43 PART 3 The Acadia Audio System You can of course manually remove plug in and send assignments and disable EQs in the Console Window In addition you can choose Clear Console from the menu in the Console Window to clear everything in that console including plug ins sends and EQ settings TT SAVING INSTRUMENT SETUPS The configuration of the Audio Instru ments amp Routings Window is saved with each Vision file along with MIDI Instruments You may also save this information in the Vision Setup file by using the File gt Save as Setup command See your M IDI Ref erence M anual for more information about the Vision Setup file 44 Opcode Systems Inc CHAPTER 7 AUDIO IN CONSOLES Before reading this chapter you should be familiar with Visions s Console Win dows If you haven t done so please read Chapter 38 The Console Windows in your M IDI Reference M anual In addition to controls for volume pan mute and solo Console Windows provide additional processing and routing capabil ities for audio channels These include 4 Pl
460. s and Out puts 79 from Busses 81 from Busses TDM 170 172 from Inputs 80 from inputs TDM 169 from Outputs 82 from SampleCell 169 from SampleCell TDM 170 multiple takes 33 123 overview Acadia 25 overview DAE 115 plug in automation tip 264 step by step Acadia 26 31 step by step DAE 116 121 stereo Acadia 31 stereo DAE 122 stereo mono instruments 27 32 117 122 while monitoring 33 124 recording techniques advanced 31 Release mouse 5 Release time in Strip Silence dialog 313 Remote Start with ReBirth via ReWire 336 Remove button Import Audio dialog Acadia 208 Import Audio dialog DAE 210 Remove From List 288 294 File Management menu 299 Rename File Management menu 295 renaming audio events 184 Replace tracks in existing movie Export as QuickTime M ovie dialog 222 448 Opcode Systems Inc Index Reset All Routings Audio Instruments window menu 43 146 Retain command 343 350 Retro AS 1 Audio Output setting 334 using via ReWire example 333 Retro AS 1 OMS Driver 333 Reverse command 359 ReWire 329 about 329 audio streaming 329 configuration 330 default enabled inputs 335 M ix M ain input 335 ReBirth example 331 Remote Start 336 Retro AS 1 example 333 sample accurate synchronization 329 Send Sync 335 transport functionality 329 Routings reseting clearing 43 S Sample End in Get Event Info 347 Sample Rate Hardware Setup 15 Hardware Setup DAE 103 in Audio Format dia
461. s into Cancel Loop Supreme 002 Rev Space Needed 1 4 MB Available 863 7 MB O Bypass this dialog next time Figure 33 5 Save As Dialog for Reverse When you reverse audio Vision con structs one or more new audio files depending on the file saving option you select in the DSP Preferences dialog box discussed on page 423 It leaves your original audio file or files unaffected 3 Use the File Format pop up menu to specify the desired file format AIFF or Sound Designer Il 4 Navigate to the folder in which you want to save the file By default Vision selects the folder you specify in the DSP Preferences dialog discussed on page 423 Type a name for the reversed audio file By default Vision suggests a name based on the auto naming options you specify in the DSP Preferences dialog discussed on page 423 Click Save Vision creates a new audio file or files for the reversed audio It creates one or more new audio events to play that audio replacing the original audio event s in your sequence NOTE If you never want to see this Save As dialog box again that is you always accept the default name and folder click the Bypass this dialog next time option in the Save As dialog box Should you wish to make the Save As dialog reappear choose DSP gt DSP Prefer ences select Reverse from its Apply to pop up menu then uncheck the Bypass Save As Dialog option
462. s Console Win dows to access TDM plug ins To do so 1 Press and hold the mouse over the Audio Sends pg 158 Windows gt Console command SampleCell support Studio Vision produces a submenu of If you owna TDM based SampleC ell console choices card you can route its outputs into the console processing and mixing a lt 3 SampleCell the same as any other Tracks s Audio Instrument in Studio Vision Pulse D See SampleCell Support pg 165 Consoles Console 1 e Console support for hardware Console 2 inputs e Eomae s TDM users can route hardware ae aa inputs into a console providing two T distinct advantages 1 you can patch Figure 16 1 Console Submenu external signal processors into a con sole and 2 you can use Studio 2 Select one of the sixteen consoles Vision s consoles as a virtual mixing from the submenu console Studio Vision opens that Console Window NOTE A general discussion of Vision s Console Windows is contained in your N MIDI Reference M anual mE ae ee era re ree Figure 16 2 Typical Console Window 148 Opcode Systems Inc CHAPTER 16 TDM Bussing Routing amp Plug Ins 3 From the Console Window menu choose Build Console From gt Audio Instruments 0 A Console 1 Channel Width gt Audio Sends gt Plug Ins gt EQs i Show Selected Fader Info Show All Fader Info
463. s by concatenating 428 Default F older 428 Dialogs 424 One Event 426 Save All new events in asingle file 426 Save each new events In a separate file 427 Save with sequence files 429 Separate 425 DSP gt M ix vs Export Audio M ix 225 315 Duration in Get Event Info 347 Time Scale dialog box 387 Dynamic Voice Allocation 124 136 dynamic voice allocation and audio playback 199 201 E Edit Event Soundfile command 348 with Acadia 348 with DAE 348 Edit menu Capture 320 321 Capture Seq gt Seq 321 Capture Seq gt T rack 321 effects Premiere Plug Ins previewing 422 Eject button Import Audio dialog DAE 210 Enable EQ Band parameter 279 enabling inputs and outputs 39 End of note MIDI to Audio dialog box 407 End of note Process Note Until 416 417 418 End Time Time Scale dialog box 387 end to end onto one track Audio Preferences DAE 174 211 EQ assigning Acadia 53 EQ area anatomy 54 EQ Edit button 54 EQ Toggle button 55 EQ type 55 gain faders 55 Phase Toggle button 55 EQ Band Enable overriding 278 EQ Band Parameter submenu 278 EQ command 366 EQ Curve EQ window 70 EQ dialog box DSP menu 367 EQ Edit button EQ area 54 EQ Enable 278 EQ Panel 1 4 Opcode Manual Template 439 Index EQ window 70 EQ toggle main EQ window 70 EQ Toggle button EQ area 55 EQ types 71 EQ area 55 High Cut 72 High Shelf 72 Low Cut 71 Low Shelf 71 Parametric 71 EQ window 69 Channel 70 EQ C
464. s covgaracpararpaarenisan pantnaad OAS 307 SICCA O iann Anat cule aatacetalasa A A 307 Gating Audio with Strip Silence e s sssssssesiresrrserrrrerrrnerrnerrrserrrnrrrens 308 Auto Separating with Slice Audio ss ssssssrsesrsrrsrrrsrrrsrrrsrrssrreeresns 309 Strip Silence vs Slice Audio ss ssssssssrssrrserssrrrsnrnsrrsnnrnsrnsnrrsnrnrsrnsens 310 SID Sence Dialog BOX nrnna elaakentesetieGins 311 Attack Time EXamMple sessssssrrssnressrrennnrsnnrusnnnnnnrnnnnnnnenrnnrnrnerrnrsrrnnnns 314 USEZTOCrOSS MOS aa ENN aA 314 Mixing Digital Audio Bouncing 315 Who Should Read This Chapter cccccscssscssssesssesssesssesseees 316 Direct Audio MIXING wie ace ceetutetexpaccstaintvicli ied ea 316 M ixing In Acadia BOUNCE tO DISK ccceccsseessseesssstesssstessneees 316 MIXING IDAE reeniras deta a tuseu pasioarGavevontian 319 viii Opcode Systems Inc Table of Contents CHAPTER 29 CHAPTER 30 CHAPTER 31 PART SIX Menus 341 CHAPTER 32 OCU WNC MILI shetesates daaese dat AS 320 The Mixed Audio on Your Hard DISK ccccssessesessessssressenresseees 322 MIXO FSIE Cl gt Marne pe nies ere erp en re rene rn Ro ere 322 Synchronizing Audio Playback 325 Who Should Read This Chapter ccscscscssssessssesssesssesesreeens 325 SV IG MOOS hry ejtican casicsione su aveay DP evutes a 325 Acadia Syncing Audio to SM PTE eeesesscsssseeseeesseressesessnsesenseeees 326 DAE Syncing Audio tO SM PTE
465. s in that time range dhe wai I TIP Selecting audio events in the Track Overview area is particularly useful when you want to apply the same edit to multiple audio events For example if your track contains both lead vocals and harmony vocals selecting a single phrasein the Track Overview area selects all vocals that occur at the sametime allowing you to edit them simultaneously 186 Opcode Systems Inc CHAPTER 18 Working with Audio Events Selecting all Audio Events Assigned to the Same Audio Instrument To select all audio events that are assigned to the same Audio Instrument Move the cursor into the left margin of the Graphic Window so it becomes a horizontal I beam Horizontal l beam Cursor Pad Guitar P i n Lii a 2 Click to select all the audio events assigned to that Audio Instrument i i F5 c EA Multi All rk Len S t O wl oes B 9 13 17 0 2 alee E ae a i ae y od DF ouaa a 2 ata Feedback PE P ETA ma Guitar Chaff Guir fody Y Y W Guitar Melod Guitar Melod Guitar Melod Guitar Melod C MOA Strip chart Exact IA IE a All audio events assigned to Audio Instrument 1 are selected Figure 18 23 Click in left margin to select all Audio Events assigned to a single Audio Instrument TIP To select audio events on multiple Audio Instruments drag the l beam cursor across them Selecting Portions of Au
466. s it to an Audio Instrument Often you can break these events into Shorter phrases such as individual lines in averse By doing this you can select the best parts of multiple takes to assemble an entirely new take Vision amp Studio Vision Pro Audio Reference Manual 247 PART 6 Advanced Audio Techniques Vision offers a couple of ways to break large audio events into smaller events You can e Usethe Audio gt Strip Silence Slice Audio command to automatically eliminate silent audio passages and or auto separate into smaller regions This is discussed in Chapter 27 Strip Silence and Slice Audio e Use the Audio gt Separate command to manually separate audio events into multiple events This is discussed in Separate pg 344 Muting Audio Events Once you ve broken your audio events into smaller phrases you can audition them individually To do so CQ Separate each take into smaller audio events In this example each original take is assigned to a single Audio Instrument and is broken into multiple audio events using one of the techniques discussed in Breaking Up Audio Events pg 247 Sequence D Track 1 udio y erse Take ee Verse Take Audio 3 mei a e ES 0 ae a Each take is broken into individual phrases Select the audio events you wish to mute by Shift clicking them Selected audio events appear hollow
467. s of your files will always match the hardware sample rate and sample rate conversion on play back will not be necessary To learn more about sample rates and the Set Session Sample Rate dialog box see one of the following chapters depending on the digital audio management system you re using e Acadia see The Session Sample Rate pg 18 e DAE see Seta Session Sample Rate and size pg 105 HARDWARE SETUP Choose this command to open the Hard ware Setup dialog box which you use to tell Vision about the audio hardware you re using The appearance and function of the dialog box changes depending on which audio system you use Specifically 352 Opcode Systems Inc CHAPTER 32 The Audio Menu e Acadia When in Acadia mode Vision uses an Acadia Hardware Setup dialog box For information see Hardware Setup pg 14 e DAE Vision when used with DAE uses a DAE Hardware Setup dialog box as discussed in Hardware Setup pg 101 AUDIO SYSTEM Choose this command to open a submenu of Audio System choices Audio system p DAE Acadia MIDI only Figure 32 12 Audio System Submenu The audio system you choose depends on your audio hardware e DAE Select this option to use Vision with any professional Digidesign digi tal audio hardware Digidesign hardware uses an audio system called the Digidesign Audio System DAE If you select this system and DAE is not available Vision will
468. s often the case with writing and deleting large amounts of files use defragmenting software to make your disk more efficient in some cases it may even be necessary to reformat e You can ease the burden of disk access for digital audio by adjusting Vision s Buffer Size dialog see page 87 for details M ake sure your computer has lots of memory 64 MB or more is not unreasonable The more memory you have the more you can allocate for digital audio buffers Vision amp Studio Vision Pro Audio Reference Manual 85 PART 3 The Acadia Audio System e Avoid trying to play lots of small audio events across many tracks this makes disk access much less efficient If a track has lots of audio events and you are happy with the way it sounds use the DSP gt Mix command to write a single contiguous audio event In addition use Vision s File M anagement W indow to consolidate audio files and delete unused audio files And as always make sure to regularly back up your data SCSI Interfaces For optimum disk performance use a fast or wide SCSI hard disk connected directly to a dedicated SCSI controller card installed inside your computer Using a separate SCSI bus for audio as opposed to using your M ac s internal hard disk or connecting to its built in SCSI port is an excellent way to optimize system performance RAM Resources The blue RAM bar in the Performance Window
469. s pop up menu to specify the sample bit depth for the record file Choices for the Acadia audio system include 16 or 24 bits See Using 24 Bits pg 24 for details Vision amp Studio Vision Pro Audio Reference Manual 23 PART 3 The Acadia Audio System Variations in the Record Monitor Window The number of input lines that appear in the Record M onitor Window depends on your particular audio hardware If you are using aKorg 1212 for instance you will see 12 input lines as shown in Figure 4 1 0O e Record Monitor B Rec Source 36 18 8 2 Clip Record File 2 Analog L DRNTTADRNTOTNANE E O Guitar dnalogR MNDNMONANANNNNN A O Bass 2 SPDIF L DONANONNNNANNNN SPDIF R SOOO E 2 ADATL SQ 2 ADATR SERORRR H ADATL ANDNUNNNNANNNEN E ADAT R Hanana uawan none udio ADATR DNNNNNTNNANINNN E Available Instrument 00 06 26 dAudio 1 00 06 26 Audio 2 00 06 26 Audio 3 00 06 26 Audio 4 Figure 4 1 Record Monitor Window for Korg 1212 Generally the number of input lines appearing in the Record M onitor Window corresponds to the number of hardware inputs your audio interface has USING 24 BITS If your digital audio hardware supports 20 or 24 bits set the Sample Size pop up in the Record M onitor to 24 bits This will let you take full advantage of your hard ware s Capabilities The Acadia audio system can import and play 8
470. se 44 1 kHz Use the radio buttons to determine whether the imported file should be Mono or Stereo and the bit depth Size NOTE Choose 16 bit to maintain CD quality audio or if you re using high end Digidesign products to maintain compat ibility with your audio hardware You can import a portion of the audio track by setting Start and End points in the Audio Selection region or by drag ging the end point handles on the time line below these fields You can preview the selected audio by clicking the Play button Click OK to exit the Audio CD Import Options dialog box Using QuickTime Vision imports the audio from the CD NOTE The Progress dialog box tells you that Vision is importing a MOVIE because QuickTime is being used as the import mechanism Vision imports the audio as an AIFF file using the audio format established in the Audio CD Import Options dialog box and places it in your selected track EB E Sequence A Track 1 NOTE If at this point Vision opens the Conversion Overview dialog box see If the Conversion Overview Dialog Box Appears When You Import Audio pg 220 Opcode Systems Inc CHAPTER 20 Import Export Cornucopia Importing Foreign Audio File Formats You can import audio from various audio formats that are not normally native to Vision such as Sun s au standard and M icrosoft s wav standard To do so CG O
471. serserrserrsnrrsrrrsnrrsrrens 177 Viewing Audio Events as WaveformsS sessssssssrrrerrrserrrerrrrerrrrerrrrens 179 ZOOMING eraa A 179 ZOC TOSSIN O asne E 180 Waveform Display Options ssssesesrrserrrenrrnenrrnnrrnnnrrnnnrrnerrrsrrrnns 182 Waveform Height OptionS ssssesesrsserrrenrrnenrrnnrrnnnrrnnnrrnerrenerrnns 182 Individual Canceling of Waveform BuildS ccccssesssessseeserees 183 Audio Event Names ccccccssccsssessssessseeessressneesseesseneessaeessaeeesaeeesas 183 Selecting AUdIO E VENUS nnriiinnioi are eewaadaretivdemik 184 Changing Audio Event Start TiMe S ccccsccsscssssssssssessssessenreesees 190 CIE OIG AU GIO nunnien E A 191 Changing Audio Event LENGths cccssessssseessssessssressssreesenreesees 194 Cutting Copying and Pasting Audio Events serere 197 Basic Digital Audio Playback 199 What to Read in this Chapter ccccccssssesssssessssesssseessnresseereeses 199 Audio Playback with Dynamic AIlOCAtION ccccscssesressstesseteess 199 Audio Playback with Fixed Voice Allocation s src 202 Import Export Cornucopia 205 Who Should Read This Chapter cccscsscccscsssessssssssessseeeeees 205 HMO OTC IG AUC Occ ocssscsdcunieansins atcua TRN 207 ITD OPE SION CCUG aeni a a aa 212 other MPO ODIOS aaie 212 EXPOrGO DIONS ornan a e a EA 221 Anatomy of the Audio Format Dialog BOX esssesrrerrererrrrerren 228 vi Opcode Systems Inc Table of Contents PART FIVE Advanced Audio Tech
472. shift If you select a portion of an audio event the entire event will be pitch shifted Therefore if you want to pitch shift only a portion of an event you must first sepa rate that portion into a new event using the Audio gt Separate command 2 Choose DSP gt Pitch Shift Unless you disabled its display in the DSP Preferences dialog discussed on page 423 Vision opens the Pitch Shift dialog box Pitch Shift Interval 4 semitones equivalent ta a shift Fine tune 15 cents Pitch Shift Quality Best Maintain voice character Figure 37 1 Pitch Shift Dialog Box Enter the number of half steps that you want to shift the audio Positive values result in an upward pitch shift negative values result in a down ward pitch shift For example to raise the pitch a minor third enter a value of 3 If desired set a fine tune value for the shift 50 cents Fine tune 15 cents From the pop up menu select a Pitch Shift Quality Fitch Shift Quality Best Vision offers two types of pitch shifting algorithms Faster and Best 380 Opcode Systems Inc CHAPTER 35 DSP Menu Pitch Shift Formant Shift Time Scale and Adjust Audio Tempo Faster takes less time to calculate the pitch shift and it produces a somewhat lower fidelity audio file In most cases however Faster quality will produce sat isfactory audio results Users with high end PowerMac comput ers will pr
473. signed sends plug ins and EQ bands for Audio Instruments inputs outputs and busses The individual fields for each column are for display purposes only you cannot click in them to make changes they indicate the processing and routing resources assigned in all of four Console Windows lt 7 Instruments Audio 1 i Snd Mngr 1 2 o Audio Snd Mngr o o o ddin Ea Figure 6 8 Viewing Sends Plug Ins and EQs In Figure 6 8 for instance Audio 1 is routed to one send is assigned to two plug ins and has no of EQ bands enabled Since It is possible for audio channels to be removed from a Console Window with out clearing their sends plug ins and EQ settings these columns can be used to monitor these assignments regardless of the state of the Console Windows And if the Performance Window see page 83 for a description indicates you are low on CPU resources you can use the Audio Instruments amp Routings W indow for a global over view of where those resources are being used NOTE Since Audio Sends are not avail able for outputs in the Console Window the Sends column is grayed out for outputs in the Audio Instruments amp Routings Window Clearing Routings P fas Ptus ns Eos _ Audio Instruments amp Routings rem Number of Instruments mofi Snd Mgr Snd Mar Figure 6 9 Reset All Routings command From the menu in the Audio Instrument
474. signer II This is Digide sign s standard audio file format used by most of its various audio systems It s also a fairly common format for professional level sample editing or file exchange e WAVE This is a standard wav audio format used by the Windows platform e Sun au This is a standard format used by both the Sun and NeXT plat forms and is alSo a popular internet distribution format 228 Opcode Systems Inc CHAPTER 20 Import Export Cornucopia Compression e law 2 1 This is anon linear 8 bit ae encoding method that yields a greater You can export audio using any of the fol dynamic range than standard linear lowing compression types 8 bit encoding It was originally devel oped for telephony applications but Compression yields passable results on music files MACE 3 1 MACE 6 1 NOTE Depending on your version of IMA 4 1 QuickTime you may have other available uLaw 2 1 conversion formats Check your QuickTime documentation for details Audio compression can seriously affect Sample Rate the file s fidelity In general you should use audio compression only when abso You can export audio using any of the fol lutely necessary With that caveat in lowing standard sample rates mind you can use Vision to export com pressed AIFF audio files using any of Sample rate EA these standard QuickTime compression CODECs e None Select this option to export 7 418 uncompressed audi
475. signing Audio Outputs in a Console Window To assign an output to an Audio Instru ment in a Console Window CG For an Audio Instrument channel press and hold the mouse on the Output selector Studio Vision produces a submenu of Output routing options Press and hold mouse on Output selector a ele Ete i ae col ETE va Output 1 2 pints Output 1 2 no output to produce a sub Eus H Output menu of output routing options a Output Pair 1 2 maa 2 From the submenu select an output destination for the Audio Instrument For more information about the various output options see Output Routing Options pg 157 NOTE Audio outputs are not provided for MIDI Instrument channels or non T DM Audio Instrument channels Assigning Audio Outputs in the Audio Instruments Window The Outputs column in the Audio Instru ments Window for TDM users is different from others It contains a selector pop up menu for assigning outputs TDM users can route outputs to several places Audio Instruments Figure 16 10 Audio Instruments Window with Outputs pop up To assign an output to an Audio Instru ment in the Audio Instruments Window Press and hold the mouse in the Outputs column for an Audio Instrument Studio Vision produces a submenu of Output routing options Audio Instruments EI ETPP Te TTT 156 Opcode Systems Inc CHAPTER 16 TDM Bussing Ro
476. simply set the plug in selector pop up to none If automation data for a plug in exists and the plug in is removed from a Console the plug in selector pop up is set to none a warning dialog will appear AN This will remoye all automation data for opCHORUS and it isn t undoable Clicking Cancel will leave the plug in in the Console Clicking OK will remove the plug in and all automation data assigned to It Rearranging Plug Ins by Vertical Dragging Itis now possible to re order plug ins by dragging them vertically To do so CQ Click and hold in the Plug In Type area of the plug in you wish to move 2 Drag to the plug in s desired location In this example we re moving the third plug in so that it will be first Vision amp Studio Vision Pro Audio Reference Manual 49 PART 3 The Acadia Audio System 3 Release the mouse The plug ins are rearranged OTE opCHORUS 2 1 E NOTE It is not possible to drag plug ins to incompatible locations For example you cannot drag a mono plug in to occur after a stereo plug in or a mono in stereo out plug in For more information about mono and stereo plug ins see page 51 When a plug in is vertically dragged its automation data remains intact However if you attempt to re order plug ins by reas signing choosing a different plug in all automation data for the selected plug in s will be lost Anatomy of the Plug In
477. since it occupies hard disk space unnecessarily You can delete the silent areas manually or you can use the Audio gt Strip Silence command to remove them automatically as discussed in Chapter 27 Strip Silence and Slice Audio Once you delete the silent regions you can compact the file as discussed in Compact pg 286 to regain the space on your hard disk 322 Opcode Systems Inc CHAPTER 28 Mixing Digital Audio Bouncing Using Mixed Silence There are times when you might need to create and use silent audio data Silent data is often necessary when you want to create Vision audio files that are compati ble with other programs such as Sound Designer When exporting audio files into a program other than Vision you need to add silent data between audio events in order to maintain the timing relationship between them If you re using the Mix command or the Capture command you may mix silence into the sound file as shown in Figure 28 6 on page 322 Vision amp Studio Vision Pro Audio Reference Manual 323 PART 6 Advanced Audio Techniques 324 Opcode Systems Inc CHAPTER 29 Synchronizing Audio Playback WHO SHOULD READ THIS CHAPTER While most modern digital multitracks such as the Alesis ADAT can deliver a relatively stable source of SMPTE time code many other tape sources analog multitracks and video decks do not SM PTE time code that fluctuates in speed will
478. sion 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 3 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 gt 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 O Studio Vision Pro 4 5 Info H pma ys Studio Vision Pro 4 5 D Kind application program Memory Requirements Suggested Size 16007 K Minimum Size 14007 K Preferred Size 35000 K Note Memory requirements will decrease by 4 007 Kif virtual memory is turned on For more information about RAM and Acadia mode see page 86 After launching Vision open the Audio Instruments window Scroll to the bottom of the window Following the Instru ments Inputs Outputs and B usses sections is a fifth section for your ReWire compatible application s 4 Enable
479. sion sample rate results in their original pitch and tempo being altered 18 Opcode Systems Inc CHAPTER 3 Acadia Hardware Setup ACTIVE IN BACKGROUND If you want Vision s playback of MIDI and audio to continue uninterrupted when itis not the current application make sure that Run MIDI in the Background Is checked in the OMS MIDI Setup dialog When Vision is stopped and no longer the current application audio processing of inputs will continue as long as Audio gt Active in Background is checked Vision amp Studio Vision Pro Audio Reference Manual 19 PART 3 The Acadia Audio System 20 Opcode Systems Inc CHAPTER 4 Acadia Record Monitor Window Use the Record M onitor Window to con trol such recording operations as e record enabling an input e record level monitoring e file and option selection e Audio Instrument selection Read this chapter to learn what s in the Record M onitor Window You ll apply this Knowledge when you learn how to actu ally record audio in Chapter 5 Acadia Recording Audio OPENING THE RECORD MONITOR WINDOW To open the Record M onitor Window Choose Windows gt Record Monitor Vision opens a Record Monitor Window similar to the one shown on page 22 TIP You can also open the Record M onitor Window directly from the Control Bar by clicking the Record Indicator button NOTE The appearance of the Record M
480. sion Pro supports the Pro Tools 24 M ix and 24 M ix Plus systems To use this hardware with Studio Vision Pro you must have e DAE 3 4 or later e DSI 3 4 or later PRO TOOLS 24 Studio Vision Pro supports the 24 bit M acintosh PCI version of Pro Tools To use a Pro Tools 24 system with Studio Vision Pro you must have e DAE 3 1 or later e DSI 3 1 or later ne an as es PRO TOOLS III NUBUS amp PCI Studio Vision Pro supports the Macintosh PCI and Nubus versions of Pro Tools To use the PCI version of Pro Tools III 24 you must Nave e DAE 3 0 or later e DSI 3 0 or later To use the NuBus versions of Pro Tools III you must use e DAE 2 95 or later e DSI 2 95 or later SESSION 8 PROJECT Session 8 and Pro Tools Project cards are identical They appear as Pro Tools Project with all the capabilities listed in Using Pro Tools Project with Studio Vision pg 98 Studio Vision Pro supports Pro Tools Project both PCI and NuBus versions To use the PCI version of Pro Tools Project you must have e DAE 3 0 or later e DSI 3 0 or later To use the NuBus versions of Pro Tools Project you must use e DAE 2 95 e DSI 2 95 Using Pro Tools Project with Studio Vision Pro Tools Project supports the following Studio Vision features e Scrubbing e Sample accurate volume and pan events Anomalies to consider e Audio Instrument assignments must belong to either group 1 4 or group 5 8
481. sion opens a pop up menu of Audio Audio Instrument you wish to use for Instruments all audio events in that track 2 From the pop up menu select the Audio Instrument that you want to use EEF a p p E iaia 1 1 bar Mi H kickin guitar M dun dunt M skippin steffen 1 senao on a alg Press and hold mouse here to open an Audio Instruments pop up menu Sequence A Track 1 Vision amp Studio Vision Pro Audio Reference Manual 193 PART 5 Basic Audio Editing amp Playback When you have more than one Audio Instrument assigned to a track the Tracks Window Instrument column M ulti You can remap all audio events assigned to one Audio Instrument to a dif ferent Audio Instrument To do so Press and hold the mouse in the Instrument column for the desired track Vision opens a pop up list of Instruments used by that track This list also contains a Remap Instruments command i SS Sequence a Meter 4 44 4 Len H a 74 Display Phrases it ea ee Tempo 120 00 Esra Saaai ann m bar rE s ad E nth Bass a z me 8 8 8 3 3 4 3 T FEE Select Remap Instruments from the pop up menu Vision opens the Remap Instruments dialog box This dialog box lists all Instruments currently in use by the Track Instruments for Wild Guitar udio 1
482. sk lt Hideo HD Space needed 1 9 MB Format AIFF 16 bits Mono unnormalized The bottom of the Save As dialog box lists all your current audio format settings If you need to change them simply click the Format button to open the Audio Format dialog box Vision amp Studio Vision Pro Audio Reference Manual 233 PART 5 Basic Audio Editing amp Playback 234 Opcode Systems Inc Advanced Audio Techniques 5 Vision amp Studio Vision Pro Audio Reference Manual 235 PART 6 Advanced Audio Techniques 236 Opcode Systems Inc CHAPTER 21 Advanced Recording Techniques This chapter expands on the basic record ing information discussed previously in Parts 2 4 It explains recording multiple takes of audio and also offers tips on managing those files The following sections discuss how to best manage files while recording WHO SHOULD READ THIS CHAPTER This chapter applies to all of the audio systems supported by Vision Tooo MM DESIGNATING SEPARATE FILES FOR DIFFERENT TAKES If you want to store each take in a sepa rate file then you need to designate a new record file every time you record a take TIP If you are using large hard drives over 2 GB you will have the best results by designating a new file for each take There are two methods of creating multi ple record files automatic and manual It helps to understand what Vision is doing before using
483. smoothing For a description of each option see below None No audio smoothing is applied and no data thinning occurs Sharp Only minimal smoothing and data thinning occurs Medium An average amount of smooth ing and data thinning occurs Smooth A great deal of smoothing and data thinning occurs You may wish to try the different presets until your audio file starts to play then manually fine tune the smoothing con trols to your taste 126 Opcode Systems Inc CHAPTER 14 DAE Recording Audio RECORDING AUDIO FROM OTHER POINTS IN THE TDM CHAIN NOTE Thisinformation applies only to users with TDM systems Y ou can choose practically any place in the TDM chain for recording Some of the uses for this are e Recording a master mix with all TDM effects in real time for a bounce to disk mix To do this route all chan nels to a single bus and record from it e Record the output of Sample Cell directly as audio into Vision e Print the effects from a track You can record from the output of an Audio Instrument to record its TDM insert effects e Create multiple submixes from bus ses For example you could use Opcode s fusion VOCODE TDM and record the vocoded signal in real time For more information see Recording from Alternate Sources in the TDM Chain pg 169 PUNCHING IN ON THE FLY WITH QUICKPUNCH TDM users can now record audio by punching in on the fly I
484. so you add an accelerando to the last four bars PROBLEM M IDI tracks easily follow the accele rando speeding up but staying on pitch Unfortunately audio tracks maintain their original playback Speed and now lag behind the beat SOLUTION Use the Adjust Audio Tempo command to automatically time com press the existing audio so that it follows the new accelerando tempo map while staying in perfect pitch PROCESS Perform the following steps Create an accelerando in the final four measures of your Sequence using any standard tempo editing techniques In this example we ll gradually increase the tempo from 110 bpm to 140 bpm during the final four bars Vision amp Studio Vision Pro Audio Reference Manual 389 PART 7 Menus Draw an accelerando in the Tempo Strip Chart a aa Ae Audio 1 IN 2 Select the final four measures of your audio track s Selecting the region of audio you need to adjust udio 4 ai 1 500 250 Choose Audio gt Separate to create a separate audio event for the region you wish to accelerate and select that audio event You don t have to separate the audio in order to use the Adjust Audio Tempo command However since you only need to process the final four bars you can save hard disk space and process ing time by processing only the region that needs to change Choose DSP gt Adjust Audio Tempo
485. song Figure 11 11 Audio Preferences Play and Record Offsets Play Offset Record Offset The Play and Record Offsets are used to improve the synchronization of audio and MIDI The following sections discuss the pur pose of these two controls their default values why you might need to modify them and how to do so Play Offset Use the Play Offset to shift audio play back time relative to the sequence s MIDI playback time The shift is expressed as a number of audio samples and can be either positive or negative e Positive numbers make Vision start processing audio playback before its designated start time This is desir able because your computer requires a certain amount of processing time to play the audio By adding a positive offset equal to the time required to process the audio your MIDI and audio tracks sound synchronized e Negative numbers make Vision start processing audio playback after its designated start time Record Offset Use the Record Offset to shift audio recording time relative to the sequence s MIDI recording time The shift is expressed as anumber of audio samples and can be either positive or negative e Positive numbers make Vision start recording audio before its designated start time shifting recorded material to the left in the Graphic Window e Negative numbers make Vision start recording audio playback after its designated start time shifting recorded ma
486. ssed on page 423 Vision opens a Save As dialog box Choose this command to alter the tonal characteristics of the selected audio To use the EQ command a Audio 1 HD Select the audio event s or portion of events you wish to equalize TT 2 Choose DSP gt EQ Unless you disabled its display in the DSP Preferences dialog discussed on Process event s into cance page 423 Vision opens the EQ dialog Save box Space Needed 1 4 MB Available 863 6 MB O Bypass this dialog next time Filter Type Low Pass 1 Figure 35 1 Save As Dialog for Convert Slope Gradual Stee Sample Rate Frequency 1000 00 H y Factor 1 When you equalize audio Vision con 3 a tae structs one or more new audio files sae depending on the file saving option you cancel ox select in the DSP Preferences dialog box discussed on page 423 It leaves your original audio file or files unaffected Figure 34 2 EQ Dialog Box Set the EQ parameters as desired Use the File Format pop up menu to specify the desired file format AIFF or Sound Designer Il Navigate to the folder in which you want to save the file By default Vision selects the folder you specify in the DSP Preferences dialog discussed on page 423 All EQ parameters are discussed in The EQ Dialog Box pg 367 366 Opcode Systems Inc CHAPTER 34 DSP Menu EQ and Fade Crossfade Q Type a n
487. st numbered slot where OpALIGN is used In this case opALIGN 1 applies to the first plug in assigned to Audio 1 and opALIGN 2 applies to the third plug in assigned to Audio l OpECHO is used once on each of the two audio channels so the two separate instantiations are not given different names MIDI Pitch Bend N Foly Aftertouch Velocity Scale Controllers Mod Wheel 13 Breath Ct 2 Foot Ctl 43 Porta Time 5 Yolume C7 Pan L10 Sustain Pdl 64 Porta Fedal 65 MIDI Controller Data All 128 MIDI Controllers can be auto mated just as they could in previous versions of Vision MIDI Controllers like other automation parameters are usually controlled using the Faders or Console window For more information about M IDI Con trollers see your MIDI Reference M anual Other MIDI Events Velocity scale pitch bend aftertouch and poly aftertouch can also be automated For more information about these events see your MIDI Reference M anual 282 Opcode Systems Inc CHAPTER 25 File Management WHO SHOULD READ THIS CHAPTER This chapter applies to all of the audio systems supported by Vision AUDIO FILES Audio files contain data stored as a series of samples numbers that create a digital representation of an audio waveform Dueling basses Bagpipe Figure 25 1 Audio Files as they Appear in the Finder In most instances you will not use all the audio you initially rec
488. ster and Best Vision amp Studio Vision Pro Audio Reference Manual 385 PART 7 Menus Faster takes less time to calculate the pitch shift and it produces a somewhat lower fidelity audio file In most cases however Faster quality will produce sat isfactory audio results Users with high end PowerMac comput ers will probably want to start with Best unless the processing times become too long TIME SCALE Use this command to either stretch or shrink the selected audio s length to fita new time duration Vision performs this operation without affecting the pitch of the original audio data D Click OK The Time Scale Dialog Box Unless you disabled its display in the l DSP Preferences dialog discussed on To open the Time Scale dialog box age 423 Vision opens a Save As i ra ae i Select the audio event s you wish to anil ak dial i i time scale onfigure the dialog as discusse previously then click Save Choose DSP gt Time Scale Vision creates a new audio file or files Unless you disabled Its display in the for the shifted audio It creates one or DSP Preferences dialog discussed an more new audio events to play that page 423 Vision opens the Time Scale audio replacing the original audio dialog box event s in your sequence EFE old ae oon asin ioe pices see bs New 00 00 00 00 00 00 00 16 00 00 00 00 16 00 00 Display SMPTE Scale Factor
489. t did before you per formed the separation Vision amp Studio Vision Pro Audio Reference Manual 345 PART 7 Menus NOTE As with other edit operations you ll most likely want to display the waveform in High Resolution mode when you use the Separate command this lets you see more clearly the peaks and valleys of the waveform For more information see Waveform Display pg 354 a nu Lt Lu MMM STRIP SILENCE SLICE AUDIO Use the Strip Silence command to remove gate any selected audio that falls below a specified amplitude for a specified amount of time Use the Slice Audio com mand to break along audio file into smaller audio events using the Strip Silence parameters without removing silence When you choose this command Vision opens the Strip Silence dialog box Strip Silence Silence threshold dE 40 mse s 1 mets Minimum duration Attack time Release time 70 E msecs Slice Audio A Figure 32 6 Strip Silence Dialog Box Use the pop up menu to select either Strip Silence or Slice Audio Use the Strip Silence dialog box to define what Vision sees as silence The Strip Silence and Slice Audio commands are very useful features for anumber of reasons e You can remove unwanted noise that occurs below the lowest threshold of recorded audio for example analog tape hiss e It s afast way to clear silent passages from your audio events saving disk Spa
490. t the Digidesign documentation NOTE In order to use the Digidesign Direct O driver you must have version 3 4 or later of the DigiSystem INIT installed Other ASIO Hardware Other ASIO compatible hardware such as the Korg 1212 O may provide the bulk of its configuration controls in a sep arate application or control panel not directly accessed from Vision For details consult the manufacturer s documentation NOTE In order to use your AS O compati ble audio card its driver must bein the ASIO Drivers folder and this folder must reside in the same folder as the Vision application Vision amp Studio Vision Pro Audio Reference Manual 17 PART 3 The Acadia Audio System Te ee ee ee a S THE SESSION SAMPLE RATE The session sample rate is the sample rate that Vision uses to record and play back audio The term sample rate refers to the number of audio samples that comprise 1 second worth of audio Higher sample rates produce better audio fidelity but use more disk Space because there are more sample points per second You can Save disk space by using lower sample rates but this degrades the audio fidelity The session sample rate is the sample rate that is common to all audio files refer enced by the sequences in a Vision file If you attempt to import an audio file whose rate does not match the session sample rate you will be prompted to convert the file When using t
491. te an audio file that can be played back by your audio system For example if you re using Pro Tools III IV you should create a 44 1 kHz or 48 kHz 16 bit audio file 214 Opcode Systems Inc CHAPTER 20 Import Export Cornucopia 6 Click the Format button if you need to change the format of the audio file Vision opens a subset of the standard Audio Format dialog box Audio Format Output file size 555K File format Sample rata The sound in the movie is 8 bit Cancel OK Figure 20 6 Audio Format Dialog Box 7 Use the various pop up menus to define the desired audio format The Audio Format dialog box parame ters are discussed in Anatomy of the Audio Format Dialog Box pg 228 Click OK Vision returns you to the Save As dialog box 9 Click Save Vision saves the audio file in the requested format and imports it into the selected track EB Saquence A Track 1 LT fl strip chart m xac Bl Sigel NOTE If at this point Vision opens the Conversion Overview dialog box see If the Conversion Overview Dialog Box Appears When You Import Audio pg 220 Importing QuickTime Audio Into a Sequence To import QuickTime audio into a new sequence from a standard QuickTime 2 5 or later file Choose File gt Open An Open dialog box appears Macintosh HB fa Desktop Y Riss iegk inn
492. ter see the manufacturer s documentation To get a finer range of values for faceless plug in parameters hold down the Option key while adjusting its sliders SAVING AND RECALLING PLUG IN PROGRAMS AND BANKS In Vision any changes made to plug in parameters can be saved and recalled as program templates Groups of programs can be saved and recalled as bank templates The actual number of programs contained within a bank varies from plug in to plug in Program and bank templates are stored in the Vision Effects Templates file which must reside in the same folder as the Vision application Vision amp Studio Vision Pro Audio Reference Manual 65 PART 3 The Acadia Audio System Template Pop up Plug In Choirus Channel Audio 1 Template Chorius Bank Program Templates Slow Leslie Tibetan Swirl Stereo Flanger Program 4 Chorius Bank Factory Bank Figure 8 5 Template pop up Both programs at top of menu and banks at bottom of menu are recalled from the Template pop up menu e Recalling a bank template replaces all of the programs in the Program pop up e Recalling a program template replaces the currently selected pro gram location for the current bank When a bank template is chosen its name is displayed in this pop up Program Pop up Choirus for Audio 1 Plug In Choirus Channel A
493. terial to the right in the Graphic Window NOTE In general you can set Record Offset values as big positive as you want H owever there isa limit to the amount of negative offset that you can set Default Offset Values Offset values for all ASIO hardware default to 0 The next section discusses how to determine optimum offset values for your audio hardware 92 Opcode Systems Inc CHAPTER 11 Acadia Optimizing for Digital Audio Modifying the Offset Values To determine an optimum Record Offset for your audio hardware Q Make sure Vision s session sample rate is set to 44 1 and the SMPTE frame rate is 30 ND In addition set the sequence s tempo to 120 2 In the Audio Preferences dialog set both the Record and Play Offsets to O 3 Step record four quarter notes into a MIDI track and set the track to loop for one measure In addition set the sequence length to infinity Make sure to use a sound with a sharp attack and quick release like a hihat 4 Route the audio output of your MIDI device into your audio interface and record four measures of audio Assign this material to Audio 1 and name the record file record offset Highlight the recorded audio event and choose Audio gt Strip Silence Configure the Strip Silence dialog with the following values and click OK SS Strip Silence 5E Silence threshold 36 dB Minimum duration 100 meecs Attack t
494. th LFO Freq ABOUT Figure 24 23 Copy Faders with a Plug In Edit window active If a plug in with automation data assigned to it is removed from a Console a warning dialog will appear A This will remoye all automation data for opCHORUS and it isn t undoable Clicking Cancel will leave the plug in in the Console Clicking OK will remove the plug in and all automation data assigned to it Copy Faders and Faced Plug Ins When used with the plug in edit window of a faced plug in active Copy Faders includes values for all 1024 of the plug in s parameters Of course you can delete the values for any parameters that are not actually in use by the specified plug in Parameters that are not in use usually have values of 0 See page 281 for more information about faced plug ins TYPES OF AUTOMATION EVENTS There are several types of events that can be automated They include e Audio volume e Audio pan e Mute and solo e Send levels e Plug in bypasses e Phase invert e EQ enable e EQ band parameters e Plug in parameters e MIDI controller data e other continuous M IDI events including velocity scale pitch bend aftertouch and poly aftertouch Unless otherwise noted these events can be assigned to Audio Instruments Bus ses Inputs or Outputs referred to as audio channels Vision amp Studio Vision Pro Audio Reference Manual 275 Automation Automation
495. th importing audio data from QuickTime movies click Import 4 Vision opens a Save As dialog box Ea Desktop Y lt Audiol HD lt gt Macintosh HD lt gt Macintosh HD New Save audio track as cyber mov1 aiff Space needed 555K Cancel Available 174 8 MB AIFF 11025 Hz 16 bits Mono Format Figure 20 7 Save As Dialog Box for Imported Audio Navigate to the folder or volume in which you want to save the file and type the desired name NOTE If you re using digital audio hard ware that requires its own dedicated hard disk such as Pro Tools III IV you should import the audio onto the disk that s connected directly to your audio hardware not the disk that s connected to your computer s SCSI port If you don t you won t be able to play the imported audio Look at the Format information at the bottom of the dialog box This shows the type of audio file that the import operation will create In general you should create an audio file that can be played back by your audio system For example if you re using Pro Tools III IV you should create a 44 1 kHz or 48 kHz 16 bit audio file 216 Opcode Systems Inc CHAPTER 20 Import Export Cornucopia 7 Click the Format button if you need to change the format of the audio file Vision opens a subset of the standard Audio Format dialog box Audio Format Sample rate LERES
496. the Sequences Window select the sequence you wish to export 2 Choose File gt Export as QuickTime Movie The Export as QuickTime Movie dialog box appears Vision amp Studio Vision Pro Audio Reference Manual 221 PART 5 Basic Audio Editing amp Playback Export as QuickTime Movie Create new movie v id x Export MIDI 2 EJ Export Audio compression O Sample rate 11 025 6 Sample size Q Channels vormaize cancer Tor Figure 20 12 Typical Export QuickTime Movie Dialog Box Configure the dialog box as discussed in The Export as QuickTime Movie Dialog Box pg 222 then click OK Vision creates a single flattened Quick Time movie NOTE When you compose a MIDI score The Export as QuickTime Movie Dialog Box Figure 20 12 illustrates a typical Export as QuickTime M ovie dialog box As you can see it contains numerous elements These are Exportselector Export as QuickTime Movie Create new movie Add tracks to existing movie Replace tracks in existing movie Font ungri pr Figure 20 13 Export Selector From the pop up menu select Create new movie if you want the export operation to create a com pletely new QuickTime movie Add tracks to existing movie if you want to add the exported audio and or M IDI to an existing movie Replace tracks in existin
497. the one shown in Figure 25 5 Vision amp Studio Vision Pro Audio Reference Manual 289 PART 6 Advanced Audio Techniques Ifthe file already has a label Ho Change Essential MG Hot Py in Progress Cool B Personal We Project 1 We Project 2 If the file already has a label its label will either experience no change or be changed to the label selected in this pop up as specified Replace Append Replace Append This pop up refers to the file s com ments Selecting Replace will delete the old comments for all selected files and replace them with the comments typed in this window Append will add the comments typed in this window to the comments already associated with the file Comments Type in this field to add comments 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 track of audio files that are used in multiple sequences The following example shows how to use the Label command to help keep track of your files Example Labeling Files Imagine you have a folder that has many audio files and three Vision documents each referring to several of the audio files Some audio files are used by one two or three sequence files and some are not used No files have labels or comments and you need a way to easily distinguish which audio files are used by which sequences 1 Op
498. the other file doesn t checking this option allows Vision to move the splice point as necessary to achieve the specified crossfade length NOTE This option is disabled if you select use selection range from the Set fade crossfade lengths pop up menu at the top of the dialog box Vision amp Studio Vision Pro Audio Reference Manual 375 PART 7 Menus Creating Crossfades an Example 3 Select a range of audio that includes all the takes There are many ways to create cross fades This example illustrates just one of the many possible techniques In it you ll see how to create a simple crossfade in which you replace a section of one take with another Q Assume you have two takes as shown below and want to use a portion of Take 2 in place of Take 1 4 Choose DSP gt Fade Crossfade Unless you disabled its display in the DSP Preferences dialog discussed on page 423 Vision opens the Fade Crossfade Settings dialog box Fade Crossfade Settings Set fade crossfade lengths manually Crossfade com E comer co est If there is not enough overlapping audio d 2 Drag Take 1 over Take 2 so that they peas soy MW share the same Audio Instrument Fade In Out E 7 o Create 100 ms exponentia Crossfades work only with audio files If audio events are too shor r Allow fade ins that are assigned to the same Audio pom nstru
499. threshold and which lasts for a specified period will be cleared You might also want to raise the silence threshold slightly to remove low ampli tude noise that you can hear along with recorded audio The higher you raise the silence threshold though the more recorded audio will get removed To gate audio using Strip Silence O Make sure either Fast or High Resolution is checked in the Audio gt Waveform Display submenu The Strip Silence procedure will not function if the waveform display is turned off 2 Select the desired event s or range of events you wish to affect In this example we ve selected a single long audio event 3 Choose Audio gt Strip Silence Slice Audio Vision opens the Strip Silence dialog box Strip Silence 274 dE 100 msecs 20 mze s 20 msecs Strip Silence Figure 27 1 Strip Silence Dialog Box Silence threshold Minimum duration Attack time Release time 4 Set the desired Strip Silence parameters Make sure that Strip Silence is selected in the pop up menu The Strip Silence dialog box is discussed in detail in Strip Silence Dialog Box pg 311 308 Opcode Systems Inc CHAPTER 27 Strip Silence and Slice Audio 5 Click the Strip Silence button Vision removes all audio that stays below the chosen threshold for as long or longer than the chosen duration 3 1 2 3 4 5 6 E Audio
500. timum input signal e Check Play through to echo the input source to your computer s output You ll usually want this is option dis abled when using Vision which has it s own Thru option in the Record M onitor e Check Automatic gain control for input levels to be adjusted automati cally when recording recommended when using Apple s PlainT alk microphone Digidesign Audio Cards If using the Digidesign DirectlO driver click the Open Control Panel button to access the Digidesign Hardware Setup dialog as seen in Figure 3 5 16 Opcode Systems Inc CHAPTER 3 Acadia Hardware Setup Hardware Setup Device Sound Manager Sample Rate 44100 Clock Source Open Control Panel Hardware Setup Card Audiomedia II 1 Sample Rate 44100 Sync Mode Ch 1 2 Input Other Options Figure 3 5 Digidesign Hardware Setup for Audiomedia IlI Click the Other Options button to con figure various input and output options specific to your Digidesign audio card Input Gain Output Gain 15 dB Max LI 6 dB Boost 12 0B OdB PDIF 1 0 Q 6dB Tascam E ane Other G 30B G dB Min Figure 3 6 Other Options for Audiomedia Ill If using an Audiomedia III for instance the other options include settings for Input and Output Gains and the type of S PDIF I O you will use For details on configuring your audio card consul
501. ting track material is again heard and the record source material becomes muted 2 Repeat the previous two steps as desired for each region you wish to punch in on When finished click the Stop button in the Control Bar QuickPunch Record Files When QuickPunch is enabled audio recording begins each time play mode is entered If punch mode is never actually entered after playback is initiated the record files are discarded If punch mode is entered however the length of the record files will encompass the duration of the playback Obviously this can result in large portions of files accumulating on your hard disk that won t necessarily point to actual audio events in your tracks The upside to this is that the punched regions can be extended after recording since the data resides in the record file So if you punch in too late or punch out too early you can correct it later by simply resizing the recorded audio events with the Trim cursor To free up hard disk space Compact your punch files from the File M anagement Window And in general make sure to disable QuickPunch if you don t intend to do any on the fly punches Vision amp Studio Vision Pro Audio Reference Manual 129 PART 4 Digidesign DAE Configuration amp Recording Co O M SETTING THE BUFFER SIZE Itis no longer possible to change DAE s buffer size from Studio Vision if you have TDM plug ins assigned If you try to do this you w
502. to compact an audio file make sure you don t have another Vision file sharing data in the audio file because that Vision file s audio may be deleted or changed 286 Opcode Systems Inc CHAPTER 25 File Management Before using this command you should use the Clear Clip and Undo command so that you see an accurate display in the File Management dialog box See Clear Clip and Undo pg 299 IMPORTANT Compacting isa destructive Operation and cannot be undone that is you cannot recover your original data once you use this command To compact a file Select the file by clicking its selector dot in the File Management dialog box You can compact multiple files by Shift clicking their selector dots t Side Pattern 6 24 99MB 14 18MB AIFF 44100 Stereo 16 Synth loop 2 130bpm AlF 1 0 33 MB 0 00 MB AIFF 44100 Mono 16 Choose Compact from the File Management menu For each selected file you ll be warned that compacting cannot be undone Compact is not undoable File data will be A removed and the current Sequences file will be saved to disk Do you want to compact the file Dueling basses Compact amp Save C 3 Click Compact amp Save to continue If the file has been previously saved it will be resaved Vision compacts the file by removing the unused data then rebuilds the wave form The more data that is being compacted the longer the compact will take 4 N
503. to your audio hardware without running the signal through a mixing console you will need to turn on the Thru option in order to hear the signal you re recording When you turn on the Thru option Vision sends the audio input signal directly to the selected Audio Instrument The audio input will be routed to the output assigned to that Audio Instrument in the Audio Instruments Window as dis cussed in Chapter 15 DAE Audio Instruments If you re using a mixing console use it to route the audio signals and turn the Thru option off For more information about the various Thru options see Anatomy of the Record M onitor Window pg 110 Assign an Audio Instrument Vision initially assigns each record file to one of its Audio Instruments Audio Instruments are discussed in Chapter 15 DAE Audio Instruments For now you need only know that Vision uses Audio Instruments to determine which output to route recorded audio to This makes it easy to audition files after you record them To assign arecord file to a specific Audio Instrument Press and hold the mouse in the desired input s Instruments column Vision opens a pop up menu of Audio Instruments d Monitor SS HBH Record File Available Instrument yitar 00 06 26 00 06 26 audio 2 Csterea Audio 3 Cstereo Audio 4 Emono OO 06 26 Audio 5 stereo en cane ent am ee ena Audio F Crone a r rarna r 00 06 26 2 While still holdin
504. tput pop up correspond directly to your hardware out puts and busses If you have renamed any of these items it is reflected in the Output pop up Interestingly enough busses can be assigned to either outputs or to other busses you can send submixes to a master mix for instance You cannot however route an individual bus to itself or assign a bus if the routing will result in a loop Clicking in the Output column for Bus 1 for instance reveals that Bus 1 is unavailable The Output column s pop up menu is duplicated in the Console Window for each audio channel Changing an output assignment in the Audio Instruments amp Routings Window automatically updates it in the Console Window and vice versa 42 Opcode Systems Inc CHAPTER 6 Acadia Audio Instruments amp Routings Window NOTE TheInput and Output sections in the Audio Instruments amp Routings Window only displays items as either mono or stereo not both And only these displayed items show up as sources in the Instrument Selector pop up for console channels in the Console Window H owever all outputs mono and stereo pairs are availablein the Output column pop up and in the Output Selector pop up for console channels IMPORTANT Bus outputs must be assigned to an actual hardware output before any of the audio channel s routed to them will be heard Sends Plug Ins and EQs These columns let you monitor the number of as
505. tputs but it may be able to play up to eight simultaneous audio voices Obviously Vision needs some way to route voices to specific outputs Vision handles such routing with Audio Instru ments Vision can use up to 128 Audio Instruments which control voicing and output assignments Audio Instruments are similar to M IDI Instruments which map groups of MIDI events to a specific M IDI device and chan nel Audio Instruments and M IDI Instruments appear in the same place In Vision windows MIDI Instruments Audio Instruments Figure 2 1 Audio Instruments and MIDI Instruments in the Tracks Window AUDIO FILES AND AUDIO EVENTS Every time you record audio Vision Stores it in a designated audio file Some times called a record file or a sound file When Vision plays digital audio it reads the data directly from the audio file and sends it to your audio hardware Since the actual digital audio is in the audio files Vision contains only pointers to the audio files These pointers tell the audio system which portion of the audio file you want to play Each portion of digital audio refer enced by Vision is called an audio event Vision amp Studio Vision Pro Audio Reference Manual 7 PART 1 Introduction to Digital Audio vend Time Track 2 a
506. trip Chart the following dialog appears et Insert Instrument Insert events on Audio Figure 24 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 as shown in Figure 24 8 on page 26 7 NOTE Ifa MIDI controller had been selected in the Strip Chart Contents pop up the instrument pop up in Figure 24 16 would have shown all MIDI Instruments After inserting events assigned to Audio l the track becomes a multi track Track is now multi 0 m Sequence A Track 3 HARE For more information about viewing and inserting events in the Strip Chart see your MIDI Reference M anual Notes about Audio Volume The Maximum Fader Position setting see page 89 for Acadia users page 173 for DAE users determines the upper most value of an audio volume fader in the Console window It also determines the uppermost value for audio volume displayed in the Strip Chart Vision amp Studio Vision Pro Audio Reference Manual 269 For example when the M aximum F ader Position is set to 6 dB and Audio Volume is selected in the Strip Chart Contents pop up the Strip Chart looks like this The range is from to 6 dB A horizon tal line is also drawn for your reference at 0 dB However regardless of the Maximum Fader Position setti
507. ts entirety Files in either the File List top or Import List bottom can be selected and auditioned with the Play button Only files that match the current Ses sion Sample Rate can be auditioned Auditioned files play through the first enabled output pair of your audio hardware If any plug ins are assigned to these outputs they ll affect the playback for the auditioned files Remove Removes the highlighted file from the Import List Done mports the audio files dis played in the Import List and closes the dialog To trigger the Done button without using the mouse hold down the Option key and type Return or Enter Cancel Closes the Import Audio dialog without importing any files Import multiple files This pop up determines where and how the speci fied audio files are imported e Choose end to end onto one track to place the files one after another onto a single track assigned to a single Audio Instrument e Choose onto multiple empty tracks to place the files on separate tracks each at the same measure location In this case each imported file Is assigned to a different Audio Instrument Importing Audio in MIDI Only The new Import Audio dialog just dis cussed Is available when the specified audio system is Acadia or MIDI Only When using MIDI Only however files cannot be auditioned Importing Stereo Linked Files When importing linked stereo files it is not necessary t
508. ts for different types of audio hardware Pro Tools Ill 24 Mix Mix Plus Pro Tools III and Pro Tools 24 have an immense amount of flexibility in how the audio can be routed For this chapter we will only examine physical outputs How ever there are many more options Please read Chapter 16 TDM Bussing Routing amp Plug Ins for a complete rundown of all bussing and routing Figure 15 11 shows atypical Audio Instru ments Window for Pro Tools III Output 1 2 Output 1 2 Output 1 2 Output 1 2 Output 1 2 Output 1 2 Output 1 2 Output 1 2 Output 1 2 Output 1 2 Output 1 2 Output 1 2 Output 1 2 Output 1 2 Output 1 2 Output 1 2 Figure 15 11 Typical Pro Tools III Audio Instruments Window Vision amp Studio Vision Pro Audio Reference Manual 143 PART 4 Digidesign DAE Configuration amp Recording Only one stereo output pair can be enabled for each Audio Instrument Also since each Audio Instrument Is assigned to a specific voice any other Audio Instru ments that use that voice must have the Same output assignments Session 8 Project Figure 15 12 shows a typical Audio Instru ments Window for Session 8 Audio Instruments amp g amp Wi 9909090000008000 gt y C C j0dddada ge owe 555466600000000ds 9999900990099800 4 OOOO OOOOOOOOBOOE 0909999999999991 OJOO OO a O a Os a M M A M M A M A R A A A udio Instruments Figure 15 12 Typical Session 8 Window For
509. ts the folder you specify in the DSP Preferences dialog discussed on page 423 7 Type a name for the converted audio file By default Vision suggests a name based on the auto naming options you specify in the DSP Preferences dialog discussed on page 423 Click Save Vision creates a new audio file or files for the converted audio It creates one or more new audio events to play that audio replacing the original audio event s in your sequence NOTE If you never want to see this Save As dialog box again that is you always accept the default name and folder click the Bypass this dialog next time option in the Save As dialog box Should you wish to make the Save As dialog reappear choose DSP gt DSP Prefer ences select Convert Sample Rate from its Apply to pop up menu then uncheck the Bypass Save As Dialog option Doesn t Vision Already Offer Sample Rate Conversion Yes Vision does have another method of off line sample rate conversion as dis cussed in Chapter 26 Sample Rate Conversion and Deinterleaving but its methods and purposes are somewhat dif ferent Specifically e Choosing DSP gt Convert Sample Rate does not change Vision s ses sion sample rate Therefore if your session sample rate is different than the rate you convert to the newly converted file will play at the wrong speed Vision amp Studio Vision Pro Audio Reference Manual 363 PART 7 Menus A
510. ttings 155 Load Templates From 155 Paste Settings 155 Save as Default 155 Save Settings 154 Save Settings As 154 Templates Plug In Edit window TDM 153 tempo and audio event resolution 179 Thinning Volume and Pan Data DAE 126 Thru Record M onitor Acadia 23 Record Monitor DAE 111 Time Scale command 386 using 387 timing changing with MIDI to Audio 413 Toggle M utes command 250 Tracks window audio evnets 178 Audio Instrument assignment 193 selecting audio events 185 trimming audio events 195 Type EQ Band parameter 278 Type column in File Management window 285 U Unlink Events command 350 unmuting audio events 249 Unused column in File Management window 285 452 Opcode Systems Inc Index Use Selected M IDI Notes 407 Use Selected MIDI Pitch Bend 407 Use Selected MIDI Velocity 407 Use Selected MIDI Volume 407 Use Selected Notes 403 Use Zero Crossings 314 V velocity of audio events 254 vs volume 253 viewing the file path in File M anagement window 284 virtual Consoles Acadia 78 TDM 168 Vision using your manuals 3 Vision Effects Templates file 65 Vocoding with Audio to M IDI 404 Voice Audio Instruments DAE 136 137 voice vs output 7 voice allocation Acadia 37 Audiomedia 137 dynamic 124 fixed 124 Pro Tools amp II 137 Pro Tools IIl 24 137 Session 8 Project 137 Sound Tools 137 volume fader 260 faders 257 Faders window 270 in
511. tton Click this button to bypass the associated plug in Any of the four plug ins for a console chan nel can be independently bypassed by clicking its Bypass button The Bypass button is duplicated in the Plug In Edit Window Changing it in either location updates the other Mono and Stereo Plug Ins There are basically three types of plug ins mono in mono out These plug ins can only be assigned to amono Audio Instrument or mono input output or bus and their output can only be connected to another mono in plug in mono in stereo out These plug ins can only be assigned to amono Audio Instrument or mono input output or bus and their output is generally connected to a stereo in plug in Vision can however use this plug in type as a mono in mono out plug in by only outputting its left channel When viewing mono in stereo out plug ins in the Plug In Selector pop up a duplicate of each plug in labeled as mono is displayed in the left column of the menu stereo in stereo out These plug ins can only be assigned to astereo Audio Instrument or stereo input output or bus and their output can only be connected to another stereo in plug in Some VST plug ins can be used in just one mode Still others can be used in two modes mono in stereo out or stereo In stereo out Vision amp Studio Vision Pro Audio Reference Manual 51 PART 3 The Acadia Au
512. u SLICE AUDIO Vision can automatically separate digital audio into useful regions using the Slice Audio command When Vision sepa rates audio it breaks along audio file into several small events based on the cri teria in the Strip Silence dialog box This is useful for several reasons e You can easily copy and paste small sections of audio such as a particular drum sound or an oft repeated vocal line e You can quantize individual events such as separate drum hits ina recorded drum track to be used as samples e f you re syncing to tape and are play ing back digital audio using only the session sample rate breaking audio into smaller events means there Is less likelihood of digital audio drifting out of sync with audio on tape To auto separate select Slice Audio in the Slice Audio Strip Silence pop up menu Vision amp Studio Vision Pro Audio Reference Manual 307 PART 6 Advanced Audio Techniques ead i Sa ad is eg GATING AUDIO WITH STRIP SILENCE In digital recording as in analog record ing some noise is always present Usually it s too slight to hear but sometimes it s apparent during silent passages To remove silent passages first deter mine what amplitude level recorded audio lies above then define that level as the silence threshold Anything beneath the threshold will be defined as silence When you click Strip Silence all audio that s below the
513. ucan record all audio takes into a single record file This method keeps all audio informa tion together in one place making it easy to find and back up audio performances e Youcanrecord each audio take into a separate record file This method keeps different takes in different files so if you lose or damage afile you lose only one take and not all of them The method you choose affects only how audio is stored on your hard disk it does not affect playback Each method can be automated using the Audio Recording Preferences dialog See Chapter 21 Advanced Recording T ech niquesin your Audio Reference M anual for more details on recording multiple takes You can save disk space by using Undo after an unsatisfactory take when you do so Vision erases the previously recorded take Recording Audio While Monitoring Existing Audio Events You can record new audio files while mon itoring existing ones For example you might want to record a backup vocal while listening to your lead vocal To do so simply record into a new track assigned to a different Audio Instrument while the other audio tracks play When using the Acadia audio system each Audio Instrument can play one audio event at atime This means that the number of Audio Instruments you ve specified determines the theoretical number of tracks audio events that can concurrently play See Setting the Number of Audio Instruments pg 36 for details
514. udio 1 Template v Chorius Bank Slot 1 mh Program 1 Default Chorus ra he el Time i _ a S samrl 1 Default Chorus z Ambient Chorus 3 Rich Chorus 4 Stereo Flanger 3 Fas Lesie Click on Program pop up 6 Funk Chorus pm to select from a list of 7 Mono Flanger programs in the current 2 Stereo Flanger bank 3 Wanderin around 10 Out of the Can 11 Modumania 12 Flimmer 13 Another Choirus a Figure 8 6 Program pop up Individual programs within the current bank are selected from the Program pop up Doing so recalls the stored plug in parameters for that program Program 16 Init Click in Program field to rename the current program Program 16 Fastidious Chorus Figure 8 7 Program field To rename the currently selected pro gram simply click in the Program field and type in the new name The newly named program can then be saved as an individual program template or as part of the current bank template See the follow ing section Template F unctions Pop up pg 67 for details 66 Opcode Systems Inc CHAPTER 8 Acadia Plug in Edit Window Template Functions Pop up The Template Functions pop up contains commands for saving importing export ing copying and pasting templates for programs and banks Template Program Save Program Save Program As Delete Program Template Copy Program Paste Progra
515. udio Instruments window 38 Compact File Management menu 286 Compression in Audio Format dialog 229 Console assigning Outputs 60 audio signal flow 46 clearing 62 clipping LEDs 60 mono vs stereo signal 46 recording fader movements 259 using example 258 virtual consoles Acadia 78 virtual Consoles TDM 168 with TDM Plug Ins 148 Consolidate File Management menu 287 Conversion Overview 220 304 351 Convert All button 306 Convert button 306 Done button 306 File List 304 Hardware Setup button 305 Session Sample Rate 305 Session Sample Size 305 vs DSP gt Convert Sample Rate 363 364 Convert All button Opcode Manual Template 437 Index in Conversion Overview 306 Convert button in Conversion Overview 306 Convert Sample Rate command 362 vs Conversion Overview 363 364 Copy Bank Template pop up 67 Copy Faders 272 and faced plug ins 282 examples 273 275 number of parameters 275 Copy Program Template pop up 67 Copy Settings Template pop up 73 Template pop up TDM 155 Copy to Folder File Management menu 291 tip 293 copying audio events 197 CPU Resources 84 Create new movie Export as QuickTime M ovie dialog 222 Create unique filenames by concatenating DSP Preferences 428 in Audio Recording Preferences 242 Crossfade Fade Crossfade 374 crossfades see F ade Crossfade creating example 376 377 Cut command 350 cutting audio events 197 recording atrack 120 recording overview 115 r
516. udio event begins and ends in the wave data portion of the audio file SHORTCUT You can open the Audio E vent Info dialog box directly from the Graphic Window by clicking the event name in the lower left corner of any audio event Audio gt Show Audio Event Names must be enabled When you move the cursor over an event name in the Graphic Window it turns into a question mark Click with the question mark cursor and the Audio Event Info dialog box opens for that event Vision amp Studio Vision Pro Audio Reference Manual 347 PART 7 Menus EDIT EVENT SOUNDFILE Choose this command to launch asample editing program that opens to display the selected audio file The program that opens depends on which audio system you re using TIP If you hold down the Option key when you choose this command you can open a sample editing program that s different than the last program you used Acadia NOTE This section discusses the E dit Event Soundfile command when used with Acadia If you re using Vision with DAE seeDAE pg 348 Choose this command to open Opcode s Audioshop so you can process the actual audio data you recorded in Vision It s up to you to know how to use Audioshop Read your Audioshop manual if you haven t done so To use the Edit Soundfile command C1 Select an audio event in Vision by clicking anywhere in its upper select region Choose Audio gt Edit Soundfile If this is t
517. udio gt Conversion Overview con verts entire audio files and all audio events contained within those audio files DSP gt Convert Sample Rate converts only the selected audio events DSP gt Convert Sample Rate uses a higher quality but slower sample rate conversion algorithm 364 Opcode Systems Inc CHAPTER 34 DSP Menu EQ and Fade Crossfade The DSP menu contains numerous algo rithms designed to process audio completely within the digital domain This chapter deals with the EQ and F ade Crossfade commands EQ Fade Crossfade Figure 34 1 DSP Menu DSP commands are constructive mean ing they create new audio files without altering your original audio data DSP commands work on mono stereo interleaved or linked audio files with bit depths of 8 16 or 24 If you select multiple audio files on which to perform a DSP operation all selected audio files must be the same type mono interleaved or linked and the same bit depth 8 16 or 24 The only exception to this rule is the Mix command You can undo any DSP command This provides a convenient way to do an A B comparison between the processed and unprocessed audio The following sections describe the EQ and Fade Crossfade algorithms in detail Vision amp Studio Vision Pro Audio Reference Manual 365 PART 7 Menus et Click OK EQ Unless you disabled its display in the DSP Preferences dialog discu
518. udio is much like as Strip Silence with an infinite release time When silence is detected the current event continues all the way to the begin ning of the next event or to the end of the Original event the event selected before choosing Strip Silence Slice Audio Vision amp Studio Vision Pro Audio Reference Manual 313 PART 6 Advanced Audio Techniques ATTACK TIME EXAMPLE In following example we ve used Strip Silence with a Silence Threshold of 20 dB and Minimum Duration of 100 ms This portion of the signal is below the silence threshold but shorter than the minimum silence It will not be stripped This portion of the signal is below the silence threshold and longer than the minimum silence It will be stripped These portions of the signal are above the silence threshold They will not be stripped After stripping the silence we are left with two separate audio events as show in Figure 27 10 B em ma Abrupt cut offs due to Strip Silence Figure 27 10 Strip Silence Events As seen in Figure 27 10 the first audio event cuts off too early and the second audio event starts too abruptly We can correct this problem by using a Release Time of 100 ms and an Attack Time of 20 ms With these settings the events from the Strip Silence command will have more gradual attack and release times see Figure 27 11 An extra 20 ms was left at the beginning of this event An extra 100 ms w
519. udio signals to devices that are external to your computer such as signal proces sors mixers or power amps The Bus routings are software based out puts They let you route audio signals to other software based components within your computer such as TDM plug ins and other console channels NOTE Whenever you route a channel s output to a bus that bus will always be ste reo regardless of whether the routed audio signal is mono or stereo If the audio signal iS mono its pan control will determine the Vision amp Studio Vision Pro Audio Reference Manual 157 PART 4 Digidesign DAE Configuration amp Recording L R placement of the audio signal within the resulting bus If you want to create a AUDIO SENDS mono bus use an Audio Send as described in Audio Sends pg 158 Each console channel supports up to four Audio Sends These work very much like an effects send on aregular mixing con Output Routings and Panning sole you can send audio signals to either If you check the Master Instrument e external signal processors or option in the Console Window s menu then the pan fader appears in an audio e Internal audio busses a N send a mono audio NOTE Audio Sends work only with TDM g l based digital audio Bussing is not avail e an output pair or able for other audio systems or for M IDI In this situation use the pan fader to posi tion the mono signal in the stereo field
520. udio systems ee HOW AUTOMATION EVENTS WORK If you re familiar with the way Vision has treated MIDI controller data and fader events in the past then automation events should seem familiar In fact controller events themselves are automation events and the handling of the new types of auto mation events is modeled after the handling of controller events in previous versions of Vision When Vision sends M IDI controller data to a MIDI instrument the parameters of that instrument are being automated When Vision sends any of the new types of automation events to an Audio Instru ment send plug in or EQ itis automating those parameters Vision amp Studio Vision Pro Audio Reference Manual 263 RECORDING AUTOMATION EVENTS Basic Recording Automation is recorded just as MIDI con troller information is recorded There are three basic steps Record enable a track t R n s HE PPE 2 Press Record 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 e You can now automate many many more parameters For example EQ and plug in parameters can be auto mated For a complete list see T ypes of Automation Events pg 275 e Moving a fader assigned to a MIDI controller used to generate fader events in versions of Vision
521. ug in inserts assignable to VST compatible plug ins EQ with up to 4 independent bands along with Phase control e 4 Sends routeable to either hard ware outputs or to any of 16 busses e 16 Busses for creating submixes and master faders and for routing to Shared plug ins Outputs assignable to hardware out puts or any of 16 busses Figure 7 1 illustrates a console channel with most of its processing and routing Capabilities displayed These individual components sends plug ins EQs and outputs will each be discussed in detail later in this chapter For now It s impor tant to grasp the basic signal flow for an audio channel within a console Acadia Audio Channels in Consoles 4 Sends routeable to outputs or busses 2 4 Plug Ins routeable to VST compatible plug ins GIE opF ANNER Phase toggle 4 discrete bands of EQ Volume pan mute and solo Output assignment to hardware output or bus Input source Audio Instrument input output or bus Figure 7 1 Console channel for audio Vision amp Studio Vision Pro Audio Reference Manual 45 PART 3 The Acadia Audio System While Figure 7 1 illustrates an actual con sole channel as it might appear in Vision Figure 7 2 illustrates the theoretical signal flow for an audio console channel N otice that the signal flow begins with an input source which can be an Audio Instrument input output or bus and en
522. ultiple files end to end onto onetrack 10 Figure 20 2 Import Audio dialog for the Acadia audio system Following is a description of the different components in the Import Audio dialog File List Displays the available files for the current directory To place an audio file in the Import List simply double click it or highlight the desired file and click the Add button File Info Displays for the selected file its File Path File Type and File Length Information is only displayed in this area when an AIFF or Sound Designer II file is highlighted Files in either the File List top or Import List bottom can be selected for info Import List Displays the list of audio files that will be imported when the Done button is clicked Add Open When labeled as Open this button opens the highlighted folder or volume in the File List When labeled as Add this button adds the highlighted file to the Import List If you hold down the Option key and click Add the highlighted file is imported and the dialog automatically closed Add All Adds all audio files in the current folder to the Import List Vision amp Studio Vision Pro Audio Reference Manual 207 PART 5 Basic Audio Editing amp Playback Play Stop Click this button to play the highlighted file While the file plays the button becomes a Stop but ton Click Stop to stop playback of the file otherwise it will play in i
523. urning offan EQ band in the EQ Window removes that band s Gain fader from the EQ Area of the Console Window for that audio channel The EQ Type pop up determines the type of EQ used for the band which in turn determines the available EQ parameters Following is a description of each EQ type along with its accompanying parameters e Low Cutuses a high pass filter which eliminates frequencies below the specified cutoff frequency Bea Freq i 125 Hz This EQ type has just one fader labeled Frequency controlling the cutoff frequency below which fre quencies are removed When using Low Cut there is no accompanying Gain fader displayed in the EQ area of the Console Window Low Shelf boosts or reduces all fre quencies below the specified cutoff frequency Ee Freq I 1000 Hz Gain ij 0 0 ae The Frequency fader for this EQ type determines the cutoff frequency below which all frequencies are atten uated with the Gain fader When using Low Shelf the Gain fader is also displayed in the EQ area of the Console Window Parametric sometimes referred to as Peak boosts or reduces acertain range of frequencies tal jj 4000 Hz Gain i 0 0 ae Width P 2 0 oct Freq The Frequency fader specifies the center frequency and the Width fader determines the range of surrounding frequencies bandwidth affected both of which are attenuated by the Gain
524. urve 70 EQ Panel 1 4 70 EQ toggle main 70 M ute 70 Solo 70 Template Functions pop up 70 Template pop up 70 EQs column Audio Instruments window 43 Equal Power F ade Crossfade 374 Event Name in Get Event Info 347 Events column in File Management window 285 Export as QuickTime M ovie File menu 206 Export as QuickTime M ovie dialog 222 Add tracks to existing movie 222 Create new movie 222 Export Audio option 223 Export MIDI option 223 Export selector 222 Replace tracks in existing movie 222 Export Audio Events in File menu 206 vs Export Audio M ix 227 Export Audio M ix 223 in File menu 206 Use EQs plug ins etc 318 vs DSP gt M ix 225 315 vs Export Audio Events 227 Export Audio option Export as QuickTime M ovie dialog 223 Export MIDI option Export as QuickTime M ovie dialog 223 Export selector Export as QuickTime M ovie dialog 222 Export Settings Template pop up TDM 155 exporting audio mix 223 individual audio events 225 individual audio events example 227 exporting audio as QuickTime movie 221 exporting MIDI as QuickTime movie 221 External Beat Clock Sync mode 325 F faceless plug ins 64 F ade duration Audio Preferences Acadia 90 Audio Preferences DAE 174 fade in 181 Fade In Out Fade Crossfade 370 fade ins automatic 373 manual 373 fade outs automatic 371 manual 373 F ade Crossfade command 369 fader mapping to volume pan 260 fader events 271 faders c
525. use M IDI Only instead e Acadia Select this option to use Vision with the M acintosh s built in audio hardware or with any other AS O compatible audio hardware MIDI only Select this option if you are using Vision strictly as a MIDI sequencer and are not recording or playing digital audio files WAVEFORM HEIGHT Use this submenu to select the height of the audio events displayed in the Graphic Window Waveform Height eae Automatic Grow Shrink Figure 32 13 Waveform Height Submenu Choose one of the following options in the Audio gt Waveform Height submenu to set the waveform height Your choices are e Automatic Vision selects an event height based on the number of audio events in the window e Grow Increases the vertical size of the waveforms Shrink Reduces the vertical size of the waveforms TIP You can add key equivalents to the Shrink and Grow commands for quick increasing and reducing of waveform sizes See the MIDI Reference M anual for details on setting key equivalents for commands Vision amp Studio Vision Pro Audio Reference Manual 353 PART 7 Menus WAVEFORM DISPLAY Use this submenu to select the display resolution of waveforms as displayed in the Graphic Window d Off Fast High Resolution Waveform Display Figure 32 14 Waveform Display Submenu Choose one of the three options in the Audio gt Wavefo
526. ussed on page 423 Vision opens a Save As dialog box Configure the Save As dialog box as discussed in Creating Automatic Fade outs pg 371 then click Save Vision creates a new audio file for the faded audio It creates one or more new audio events to play that audio file replacing the original audio event s in your sequence NOTE When you process multiple whole audio events Vision applies the same fade times to all the selected events All events will be processed with the same fade in and or fade out times If you want each audio event to havea dif ferent fade time use the F ade Crossfade command on only one audio event at a time Vision amp Studio Vision Pro Audio Reference Manual 373 PART 7 Menus Creating Crossfades Crossfades let you create seamless transi tions between spliced audio events as long as you remember a few simple rules e The audio events you wish to cross fade must reside in the same track and be assigned to the same Audio Instrument e Crossfades cannot be created if the audio files referenced by the audio events do not contain any overlapping data Crossfades use the following portion of the F ade Crossfade Settings dialog box J Posstades mi QO centered at 4 the splice point If there is not enough overlapping audio L O Allow crossfades with minimum length of ms Allow crossfade regions to move about splice point as needed Figure
527. ussion applies to all Vision and Studio Vision Pro users but is most applicable to high end TDM users Vision can contain up to 128 Audio Instru ments providing advanced support for high end digital audio systems Vision initially defaults to 16 Audio Instru ments but you can request a greater number if you desire Vision stores the requested number of Audio Instruments in both its Setup file and in each Vision file 132 Opcode Systems Inc CHAPTER 15 DAE Audio Instruments IMPORTANT The total number of simul lee taneous audio voices that Vision can playis NAMING AUDIO INSTRUMENTS determined by your audio hardware not the number of Audio Instruments You can name Audio Instruments for instance vocals or bass to easily iden To select the desired number of Audio tity them in a sequence To do so Instruments CQ Click the name of the Audio Press and hold the mouse on Instrument you wish to change the Audio Instruments Window Audio Instruments menu rr 2 Move the cursor over the Number of Instruments option Vision produces a pop up menu from which you can select the desired number of Audio Instruments It is now possible to specify any number of Audio Instruments Type anew name for the Audio up to 128 by choosing Number of Instrument Instruments gt Other from the menu _ _ in the Audio Instruments Window x aS EM of Instruments
528. ut The Record Enable Indicator has three states Solid Red When an input channel is record enabled this indicator is solid red Flashing Red The indicator flashes red if Vision is in play mode and has the possibility of recording such as with punch in it then turns solid red when Vision begins to actually record No Color The input channel is not enabled and will not record audio 110 Opcode Systems Inc CHAPTER 13 DAE Record Monitor Window Record File Options Press and hold this icon to open a pop up menu of record file options These options let you create new record files append to existing files or close a record file Record Files This column shows the name of the file to which audio data is recorded Available Recording Time This column displays the amount of recording time available based on the amount of free disk space and other recording parameters Audio Instruments Use this column to select an Audio Instrument for each channel or linked pair Use Audio Instruments to group related audio events to associate controller data with specific events to assign playback voices so that multiple audio events can play simultaneously and to associate audio events with particu lar outputs Thru Use this pop up menu to select one of three audio thru options On Select On if the signal you re recording is patched directly into your audio hardware without first
529. ut As Load Console Layout Audio Instruments Vision creates a console with a volume and pan fader for each of the Audio Instruments residing in your Audio Instruments Window Console 1 fat eet a s a 7 a bate bake ba be ba ba ba ba ba bata Aa hibttkiekt bebkneeie B tebueseeeneee e L 8 Drag any volume fader up or down Vision changes the volume for all audio events assigned to that Audio Instrument Similarly drag any pan fader left or right Vision changes the panning of any audio event assigned to that Audio Instrument 258 Opcode Systems Inc CHAPTER 23 Adjusting Volume and Pan TIP You don t have to DRAG faders If you click anywhere in the length of a fader the thumb will automatically jump to that location Recording Console Fader Movements Y ou can create dynamic mixes by record ing fader movements in real time To do SO Record enable a track then select a Record Mode and Countoff option Begin recording Drag some faders in the Console Window Stop recording Open a List Window and notice that Vision recorded your movements OOH Of O Movements to volume faders are written as audio Volume events and move ments to pan faders are written as audio Pan events Each event is also assigned to the appropriate instrument Sequence B Track 3 e a K al ap 8 Events ptr or ira Yolume 0
530. ut M IDI sequencing and all other non audio aspects of Vision You Should be familiar with many of the concepts presented in this manual before learning audio sequencing e Audio Reference Manual This manual which you re now reading provides detailed information about audio sequencing You should have a fundamental understanding of Vision and M IDI sequencing before reading this manual IMPORTANT TheMIDI and Audio Refer ence M anuals are identical for both Vision and Studio Vision Pro For the sake of con sistency however both manuals refer to the discussed application as Vision except of course when referring to topics and fea tures specific to Studio Vision Introduction VERSIONS OF VISION Vision comes in two models e Visiton This version supports audio recording and playback using ASIO compatible audio hardware includ ing Apple s Sound M anager hardware and Digidesign s Audio media II II on any Power M acintosh with built in 16 bit sound capabilities Studio Vision Pro T his version adds support for other Digidesign audio hardware including support for TDM Also the Audio to M IDI and M ID to Audio DSP commands are only included with Studio Vision Pro See Chapter 36 DSP Menu Audio to MIDI and MIDI to Audio for details INTRODUCTION TO DIGITAL AUDIO You can record both M IDI data and digi tal audio into Vision listen to all data simultaneously and edit it
531. uting amp Plug Ins 2 From the submenu select an output destination for the Audio Instrument For more information about the various output options see Output Routing Options pg 157 RESET SHORTCUT You can quickly set all Audio Instruments to the same output If you press and hold the mouse on the word Outputs at the top of the Outputs column 1 Press and hold mouse here 2 Select an output from the pop up menu ino output Bus H Output ad Gutput Pair P 3 4 3 All Audio Instruments are set to the selected output a Figure 16 11 Setting all Audio Instruments to the Same Output Output Routing Options TDM users can select one of four output routings for each Audio Instrument No output Select this option to dis able all audio outputs B us Select one of sixteen internal busses By sending numerous chan nels to the same bus you can create a submix or group controlling all grouped channels with one fader and a single collection of Audio Sends or TDM Inserts e Output Select a single mono output from this submenu The number of outputs is determined by your audio hardware e Output Pair Select a pair of audio outputs from this submenu If you re audio signal is mono use the pan fader to position the signal within the stereo field See Output Routings and Panning pg 158 The Output and Output Pair routings are hardware based They let you route a
532. vely changed the character of the voice e Similarly if you select the same female vocal and shift the formants higher then the resulting audio sounds as if it were sung by achild Again the pitch is unaltered only the formants which describe the sound s resonant environment have changed e Subtle formant shifts could slightly age asinger or make him her sound more youthful e Formant shifting can also affect non vocal audio selections though the effect is generally less pronounced Still you might want to experiment you never know when you ll acciden tally stumble on that perfect sound Using the Formant Shift Command To use the Formant Shift command CQ Select the audio event s you wish to formant shift If you select a portion of an audio event the entire event will be formant shifted Therefore if you want to shift only a por tion of an event you must first separate that portion into a new event using the Audio gt Separate command Choose DSP gt Formant Shift Unless you disabled its display in the DSP Preferences dialog discussed on page 423 Vision opens the Formant Shift dialog box formant Shift Formants L Pitch Shift 2 semitones Shift semitones 0 cents cents i Pitch Shift Quality Figure 37 3 Formant Shift Dialog Box Vision amp Studio Vision Pro Audio Reference Manual 383 PART 7 Menus 3 E
533. ves the current parameter settings as default for the plug in Each time the plug in is later assigned to an audio channel these settings are automatically made current Import Settings Opens individual plug in programs saved in other TDM compatible applications like Pro Tools Export Settings Saves the current parameter settings as a plug in pro gram that can be opened in other TDM compatible applications like Pro Tools e Load Templates From Loads all plug in templates for this plug in from a Vision Effects T emplates file that is not current The loaded templates are merged with the current set BYPASSING PLUG INS Y ou can bypass any plug in from within the Console Window To do so CG Click the B button for the TDM Insert you wish to bypass B stands for bypass Figure 16 9 Bypassing a TDM Plug In Studio Vision bypasses the TDM plug in removing it from the digital audio signal chain NOTE Thisis the same as opening a plug in s Edit Window and clicking it s Bypass button AUDIO OUTPUTS Studio Vision works with up to 64 hard ware inputs and outputs providing Support for large Digidesign TDM systems In addition TDM users can use either the Console Window or the Audio Instru ments Window to assign outputs to Audio Instruments Vision amp Studio Vision Pro Audio Reference Manual 155 PART 4 Digidesign DAE Configuration amp Recording As
534. viewing the audio effect is discussed in Previewing Effects pg 422 Click OK NOTE Different plug ins use different names for the button that applies the changes to your audio event Some may use a Process or an Apply button See your plug ins documentation for more information Unless you disabled its display in the DSP Preferences dialog discussed on page 423 Vision opens a Save As dialog box c Audio 1 HD Desktop Process event s into ty Song 001 Plugin Space Needed 1 4 MB Available 863 6 MB O Bypass this dialog next time Figure 41 4 Save As Dialog for Premiere Plug In Vision amp Studio Vision Pro Audio Reference Manual 421 PART 7 Menus When you modify audio Vision con structs one or more new audio files depending on the file saving option you select in the DSP Preferences dialog box discussed on page 423 It leaves your original audio file or files unaffected 7 Use the File Format pop up menu to specify the desired file format AIFF or Sound Designer Il Navigate to the folder in which you want to save the file By default Vision selects the folder you specify in the DSP Preferences dialog discussed on page 423 9 Type a name for the modified audio file By default Vision suggests a name based on the auto naming options you specify in the DSP Preferences dialog discussed on page 423 Click Save Vision creates a new audi
535. w wrong the note is In the Graphic Window s Ruler drag to select the time range you want to convert This selects all MIDI data notes and controllers plus all Audio data in the range Drag a range in the ruler to select both MIDI and Audio data Choose DSP gt MIDI to Audio Unless you disabled its display in the DSP Preferences dialog discussed on page 423 Vision opens the MIDI to Audio dialog box Check the Notes option and leave the other options unchecked Since you only edited the pitch of a MIDI note you ll speed up the MIDI to Audio analysis by un checking the other unchanged types of MIDI data Use Selected MIDI Hotes CO Velocity C volume C Pitch Bend Click OK Unless you disabled its display in the DSP Preferences dialog discussed on page 423 Vision opens a Save As dialog box Select the type of audio file you wish to create name it and select a volume or folder in which to store it Click Save Vision creates a new audio file and places a new audio event in your sequence This new audio event sounds exactly like your original audio event but with all the notes played at the correct pitch Vision amp Studio Vision Pro Audio Reference Manual 409 PART 7 Menus Stabilizing Pitch Fluctuations You can stabilize a wobbling vocalist by converting the vocal to MIDI removing the pitch bend data then applying the edits to th
536. want to generate a MIDI duplicate of the performance select the Bass Electric template From the pop up MIDI Instrument menu select the MIDI Instrument that will play the MIDI data you re about to generate Audio to MIDI Audio MIDI Bass picked Instrument Audio 1 Instrument K2k 1 If the template you choose is generating pitch bend data as indicated by a checked Pitch Bend option then you must tell Vision to Vision amp Studio Vision Pro Audio Reference Manual 397 PART 7 Menus match the pitch bend range of your MIDI Instrument m Audio to MIDI Audio MIDI Bass picked Instrument Audio 1 Instrument K2k 1 Input Range EO to E3 Generate Notes Create new note if CO volume Pitch bend exceeds 2 semitones Pitch Bend 4 h semitones O Brightness IMPORTANT You must do this before you convert the audio because Vision needs this information to generate the proper pitch bend data IMPORTANT Make sure your synthe sizer s pitch bend range is equal to or greater than the maximum pitch bend contained in the audio file For example if your audio data contains pitch glides of a major third 4 semitones you must program your synthesizer s pitch bend range to 4 semitones or greater If you know the pitch range of your Original audio file enter that range into th
537. window F File Management H l 1 0 46 MB 0 00MB Sd2f 44100 Mono 16 1 0 46MB 0 00MB Sd2f 44100 Mono 16 Figure 25 15 File names updated in the File Management window 296 Opcode Systems Inc CHAPTER 25 File Management Delete Delete does affect hard disk data deleting the actual audio file and it cannot be undone Before the file is deleted you ll be warned that audio events in the active Vision file are referencing data in that audio file and they ll be deleted from the sequences if you delete the file Sample Rate Convert If some of your audio files have sample rates that are different than the session Sample rate you can use the Sample Rate Convert command to convert their sample rates to the session sample rate Sample Rate conversion creates anew audio file on your hard disk Sample rate conver sion and theory is discussed in more detail in Chapter 26 Sample Rate Conver sion and Deinterleaving To convert a file s sample rate Select an audio file by clicking its selector dot in the File Management dialog box 2 Choose Sample Rate Convert from the File Management menu Vision opens the Sample Rate Conver sion dialog box Convert to what sample rate 44100 Target Sample Rate 3 From the pop up menu select the desired sample rate If you need to change your hardware sample rate click the Hardware Setup button to open the
538. ws the items that will be imported when you click the Done button NOTE Vision does not recognize Sound Designer cross fade settings Action Buttons Use the action buttons to navigate your hard disk and select items to import into your Vision document Cancel Remove There are six action buttons E ject button Click this button to eject a floppy disk or other removable media Desktop button Click this button to move the first scrolling list to the desktop level Cancel button Click this button to cancel the import operation no audio will be imported Done button Click this button to import all items in the right list into the current Vision document You can import several sound files regions or playlists at the same time from sev eral different sources Add button Click this button to move the selected item in the middle list to the right list making it ready to import Remove button Click this button to remove the selected item from the right list Sound File Information This area contains information about the currently selected item in any of the lists Click the pop up menu to view the loca tion of the item on your hard disk Sound File Hi Hat Open Close File Type Audio IFF AIFF Sample Rate 44100 0000 Sample Size 16 Bit Mono Duration 0 00 00 29 210 Opcode Systems Inc CHAPTER 20 Import Export Cornucopia Audio Preview Controls Use these controls to
539. x gives you a set of parameters to smooth out rapid changes in volume or pan therefore elimi nating these unwanted noises The Fade duration is the amount of time the smoothing ramp will be generated during fast amplitude changes or pans Fade durations can be set between 0 and 200 ms The None Sharp Medium and Smooth buttons each provide default volume and pan fade times In the example below consider an audio signal that changes amplitude abruptly 78 j 100 ms 68 66 64 100 ms 50ms Sharp Changes is amplitude can cause unwanted clicks and pops Figure 17 2 Abrupt Amplitude Changes of Original Audio Envelope If we set the Fade Duration to 100 ms by clicking the M edium button Vision will automatically smooth the signal within 100 ms of the amplitude change Smoothing ramps created by a Fade duration of 100 ms Figure 17 3 Smoother Amplitude Changes After Applying Smooth Audio Controllers IMPORT MULTIPLE FILES end to end onto one track onto multiple empty tracks This option determines how audio files are placed when multiple files are imported When end to end onto one track is cho sen multiple files imported at the same time will be placed end to end on the selected track When onto multiple empty tracks is chosen multiple files imported at the same time will be placed onto separate empty tracks with one event per track For more information about importing audio see
540. xing and normalizing the wave form Vision computes a new waveform display based on the selected Audio gt Display Waveform option as discussed in Viewing Audio Events as Waveforms pg 179 7 Next you ll be prompted to choose an Audio Instrument to assign to the mixed audio event Set Insert Instrument Insert events on Audio 3 a Press and hold the mouse on the Audio Instrument name displayed in the dialog box and select a new Audio Instrument from the pop up menu As shown in Figure 28 4 the new mixed event is assigned to the specified Audio Instrument The audio events you selected for the mix are removed from the track in the sequence but the audio files those events pointed to remain unaltered in their original files on your hard disk The newly created audio event will now point to the new audio file that contains the mixed audio data Figure 28 4 Mixed Event on a New Audio Instrument 9 Select the mixed event by clicking in its select region then play it back by choosing Do gt Play Selection If you re not satisfied you can undo the mix operation by choosing Edit gt Undo TIP If you recorded an event too softly you can normalize it by selecting the event then choosing DSP gt Mix and enable Normalize in the formats dialog This creates a new file that if desired you can use in place of the one you recorded originally The old file remains on the hard disk and you can cho
541. y back in the File Management window Audio files can now be played directly from the File M anagement window To play an audio file in the File M anagement window 1 Select the file you wish to play by clicking on it 2 Click the Play button Listen to the audio file A small vertical line follows playback in the audio waveform 3 When you are finished click the Stop button You can also make playback skip to a dif ferent point in the audio file by clicking where you d like playback to continue ORGANIZING AUDIO FILES There are a number of commands avail able from the File Management menu To access them press and hold the small downward pointing triangle in the dialog box s title bar File Management i Compact vents ize nuse SR Hz ans its Consolidate Label Copy To Folder Move To Folder Rename Delete AIFF 14 49 MB i Sd2f Sample Rate Convert Sd2f Deinterleave Rebuild Waveform Find File Remove From List Select Unused Select All Clear Clip amp Undo Figure 25 3 File Management Menu Compact Compact throws away audio data that is not referenced by any audio events in the active Vision file The remaining audio file data that the Vision file is using moves together to save disk space Keep in mind that Vision has no way of Knowing If hard disk data is being used by a Vision file that is not currently open When you decide
542. yer often bends a string to raise the pitch one semitone Therefore this numeri cal should be set to 1 half step for electric guitar since it s unlikely any pitch bends greater than this will occur Example 2 A trombone player often creates glissandos over a wide pitch range To accurately capture such pitch bends as glissandos and not as a series of individual notes this numerical should be set to alarge number of half steps MIDI Instrument pop up menu From this pop up menu select the MIDI Instrument that will play the M IDI data Vision creates Generate options Use these check boxes to tell Vision what types of M IDI data you want it to generate There are four options Notes option fixed This option is always checked in the basic Audio to M IDI dialog box you cannot disable it Vision always generates M IDI notes and MIDI velocity values from the audio it analyzes Volume option If you select this option Vision creates MIDI volume data controller 7 to insure that rel ative MIDI volume levels match those contained in your original audio file Vision amp Studio Vision Pro Audio Reference Manual 399 PART 7 Menus Pitch Bend option If you select this option Vision creates pitch bend data to accurately reflect every subtle or not so subtle pitch fluctuation contained in your original audio file The amount of pitch bend created by The Expanded Audio to MID
543. you have tried to open a file that requires conversion the Convert button will appear and the Con vert All button will appear next to it If there are no files that require conver sion and you have called the Conversion Overview dialog box manually only the Done button will be in this area Clicking Convert will cause the currently selected audio file to be converted Click ing Convert All will cause all the audio files that require conversion to be con verted one at a time 306 Opcode Systems Inc CHAPTER 27 Strip Silence and Slice Audio WHO SHOULD READ THIS CHAPTER This chapter applies to all of the audio systems supported by Vision STRIP SILENCE Vision can automatically gate digital audio using the Audio gt Strip Silence com mand When Vision gates audio it removes all audio in a selected range that falls below a specified amplitude thresh old which also results in several short audio events This is useful for several reasons including e You can remove unwanted noise that occurs below the lowest threshold of recorded audio for example analog tape hiss e t s afast way to clear silent passages from your audio events If you wish you can permanently remove any gated data from the audio file by com pacting the audio file This conserves disk space For more information see Compact pg 286 To gate audio select Strip Silence in the Slice Audio Strip Silence pop up men
544. you zoom in If you find yourself in a situation where you can t zoom in as far as you d like try temporarily increasing the tempo of the sequence The maximum tempo is 500 bpm and resolution is quite high at this tempo After editing return the tempo to its original setting Vision amp Studio Vision Pro Audio Reference Manual 179 PART 5 Basic Audio Editing amp Playback Zero Crossings When you edit audio events you will probably want your edit points to begin and end in low amplitude levels of the waveform Edit points that occur in ampli tude levels higher than zero can produce audible clicks and pops on playback the higher the amplitude the more likely it is that there will be clicks Vision attempts to avoid unwanted clicks by automatically playing from the closest point where the waveform crosses the zero amplitude level called the zero crossing No matter what type of wave form you re working with the distance between zero crossings is short enough that when Vision plays from the closest zero crossing the change is not noticeable Zero Crossing Amplitude Time j Figure 18 7 Vision Moves the Playback Point to the Closest Zero Crossing Editing with Zero Crossings Vision also automatically puts all edit points at zero crossings For example when you select a portion of an audio event and use the Audio gt Separate com mand the beginning and end of the separated reg
545. z Splice Point NOTE This option is disabled if you select use selection range from the Set fade crossfade lengths pop up menu at the top of the dialog box Crossfade Illustration Illustrates the crossfade shape chosen in pop up menu and the crossfade position chosen in pop up menu It also illustrates whether the crossfade is being set manually or is using the selection range as set in the Set cn crossfade lengths pop up menu For manually set crossfades the graphic illustrates the E point K For crossfades set by selection i range the graphic illustrates the selection range E E O M inimum Length crossfade option and length setting If Vision is unable to create a cross fade of the length entered in enable this option to allow shorter crossfade lengths down to the speci fied minimum For example if the files referenced by the selected audio events don t con tain enough data around the splice point or inside the selection range to create the crossfade checking this option allows Vision to create smaller crossfades Automatic Crossfade Repositioning option If Vision is unable to create a cross fade of the desired length in the specified position enable this option to allow the crossfade to shift around the splice point as necessary For example if the file referenced by one audio event contains enough data around its splice point to create a crossfade but

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