1994 interview: "TR: Pretty much any real instrument like guitar or vocals or bass was recorded into the computer first; I use Opcode's Studio Vision all the time now for sequencing. Usually I'd loop something and then play along with it for a while, then I'd go back and listen. If anything was decent, I'd cut it together into something cool. All the guitars I played were cut up and put together like that."

"I'm using Performer and also, sometimes, Vision", he explains. "For hard-disk recording I'm using Studio Vision because Digital Performer isn't working so well yet. It's going to be better but it just came out - I've got the 1.01 version, so it's too young."

"I used to use [Opcode Studio] Vision for a really long time, and then when Gibson bought Vision and they shut it down, I went into a panic."

In the Sound on Sound article "David Sylvian: Recording Tin Drum & The First Day," David Sylvian mentions using Opcode Studio Vision in the 23rd paragraph, 2nd line.

"Our sound sources include quite a lot of original analog gear (OSCAR, Korg Poly-6, EMS synthi, Roland Juno60 - all midi-retro fitted BTW) plus the usual samplers (Emax, s1000, Samplecell II). These are controlled by sequencers including Studio Vision, Cubase and the "retro-style" Doepfer (originally made for Kraftwerk). The sounds are intially effected by various standard echoes and FX including a Roland SDX-330 Dimensional Expander (3D-ish) and a Boss SE70 (good vocoder presets!)."

In an interview with Sonicstate, Thomas Dolby discusses his use of the Opcode Studio Vision DAW at the 24:14 mark in the video, confirming that he began utilizing this software later in his career. This serves as direct evidence of his engagement with this music gear.

"The first program that I really got into was Studio Vision, and on the first Seal album, 'Future Love Paradise' was originally recorded with two tracks of MIDI, one track of audio straight into Studio Vision — the drums were MIDI drums, and a keyboard and Seal's vocals. That's how we started and we built it all on top of that. And that would have been '90/91, one of the first ones that I did. That's where all that stuff began."

"Instead I decided to concentrate on my songwriting tools — my keyboards and the Mac with Studio Vision software. When I get into songwriting mode, I'll get an engineer in for the morning to set me up on the desk, so that I only have to work the big faders and a few effects. For the actual songwriting process I need to be on my own. But for demoing and tracklaying I need people around me to bounce ideas off."

I still use Opcode Studio Vision, after five years. It was murdered by Gibson!

It’s still the most logical MIDI-integrated sequencer. As far as the MIDI part, Studio Vision is still my favorite. I’ve got a Mac set aside that runs System 9.2. It’s completely stable, it all works. There’s no reason it won’t work for another ten years.

"I was a big Studio Vision user. They went out of business. Then I had a long relationship with Cubase. I was an Emagic Creator and Notator user on the Atari way back."

"We don't always work together. Sometimes I come over from the US with some ideas on cassette, created on a Macintosh Quadra 840 running Studio Vision. That's great because you can compose on it and run audio alongside - it has four audio tracks but only two outputs, which are demo quality. So there's some MIDI on the album, but also a lot of live playing which is added afterwards."

Opcode Vision is included in the list of equipment at Daniel Miller's home studio.