Return to WOW/EM homepageOpcode's Vision and Mark Of The Unicorn's Performer are two of the leading software sequencer packages today. The following is a general description of their capabilities made with the assumption that you, the reader, have a basic knowledge of the workings of a sequencer.
Vision and Performer are in many ways quite similar and over the years have adopted many of the same innovations and functions. They both allow you at the most basic level to record a sequence of a virtually unlimited length and number of tracks (more than you'll ever need, I guarantee). Sequences can be recorded from a MIDI instrument (keyboard, wind controller etc.) or directly inputted into the computer from the mouse or computer keyboard via a varitey of editing windows. They both feature a "Tracks" window which displays all the tracks, track names (which you can assign), and MIDI data that you have recorded in the form of blocks or bars spread across the screen. In both programs the Tracks window will also allow you to solo, mute, and loop any of the tracks you have created. Each program also has a "Transport Controls" window which looks like your typical tape deck control panel with buttons for stop, play, pause, record etc. Next to the transport controls are a large counter displaying your location in the sequence and controls allowing you to vary tempo and metronome attributes amongst other things. On the same panel you will also find virtual buttons that open the various editing windows in each program (which can also be called up from the menus at the top of the screen).
The editing windows offer powerful tools to process and shape (or to input) your MIDI data. Both programs have the same three basic editing windows: List, Graphic, and Notation. The List window (called the "Event List" or "Event-Editing" window in Performer) displays all recorded MIDI data for a selected track - every note and its associated on (attack) velocity, off (release) velocity, duration, precise time, all controller data, pitch bend data, program changes, and system exclusive and other data. Since notes sound as you click by them, this window can be useful for finding and correcting those tiny annoying mistakes you make in an otherwise stellar recording and for inputting program changes at precise points. If you want to alter data on a larger scale or would like a more visual approach to editing then the Graphic Editing window could come in handy. In both programs this window allows you to see the notes of any track as if they were punched into a piano roll. Length implies duration, vertical position implies pitch and horizonital position implies the note's location in time. You can also zoom in or zoom out to get more or less detail in your editing. The faint lines of a graph in the background help you locate exactly where a note is and by clicking and dragging you can move notes to alter pitch, duration, or start-time. The Notation Editing window is a useful feature if you prefer to work with traditional (Western) music notation. Of course there are more powerful software packages dedicated to just the task of notation, but having this function is useful because it allows you to print out a score for any sequence you've created or to input and edit track data as notes on a staff (which many non-keyboardists might find useful). The most basic palette of notes, rests, and other symbols is available, but be sure to quantize any data you've recorded first (to the desired resolution) before notating it or you might end up with a jumble of notes, rests, and ties. All of the editing windows mentioned above allow you to do basic cut and paste editing as well as a bunch of other nifty things as you'll discover when you get a chance to explore.
As with most sequencers these days, Vision and Performer also allow for straight, groove, and shuffle quantization and they support the usual step-recording features in addition to real-time recording. As with many other hardware and software sequencers, sequences can be created by stringing together a bunch of smaller sequences (called "subsequences" in Vision and "chunks" in Performer). Both programs allow you to create virtual consoles in which you can manipulate MIDI volume, pan position, and other controller data by clicking and dragging the mouse on faders and knobs that resemble those of an actual mixing console and all of your movements can be automated.
These are just some of the many various features that these sequencers sport. When it comes to actually selecting a software sequencer I would strongly recommend that you try each of them out if they are available at a music store near you or if you know someone who has any of them. The differences are in the finer points but these can make amount to quite a different total sequencing experience. I can personally attest to having met people who would swear by their favorite one of these and would never go near the other. Even though Vision and Performer are probably the two most widely-used professional sequencers in the U.S. it may be worth mentioning here the notable Cubase, which is vastly popular in Europe and is beginning to gain a following in the U.S.A. My advice to you when it comes to selecting a sequencer is try them all out, find one that suits YOUR particular needs and style of working, or get advice from someone who is familiar with one or the other and knows your musical inclinations. And don't forget that in addition to your computer and MIDI gear you will also need a MIDI interface (MOTU supplies the MIDI Timepiece line and Opcode the Studio 3, 4, 5 line, and there are numerous others in the market). If you are a more experienced user and would like to incorporate digital audio recording and processing capabilities you might look into the programs Studio Vision, Digital Performer, and Cubase Audio (which contain the same basic MIDI features as the aforementioned sequencers plus the digital recording/processing option). With these you would need an additional hardware interface containing analog to digital (A/D) and digital to analog (D/A) converters (such as those of the popular Digidesign line). Good luck with your music and I hope that this overview has in some small way been helpful!
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Copyright September 1996,
updated February 2004.
Kristine H. Burns,
Florida International University
Questions? Contact me.