Sony ACID User Manual Pro 4.0 Operating Instructions Acid40

User Manual: sony Acid Pro - 4.0 - Operating Instructions Free User Guide for Sony Acid Software, Manual

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After you install ACID and start it for the first time, the registration wizard appears. This wizard offers easy
steps that enable you to register ACID online with Sonic Foundry. Alternately, you may register ACID
online at www.sonicfoundry.com at any time.
Registering your product provides you with exclusive access to a variety of technical support options,
notification of product updates, and special promotions exclusive to ACID registered users.
Registration assistance
If you do not have access to the Internet, registration assistance is available during normal weekday business
hours. Please contact our Customer Service Department by dialing one of the following numbers:
Customer service/sales
For a detailed list of customer service options, we encourage you to visit www.sonicfoundry.com. Use the
following numbers for telephone support during normal office hours:
Technical support
For a detailed list of technical support options, we encourage you to visit www.sonicfoundry.com/support.
• To listen to your support options, please call 608-256-5555.
• Customers who have purchased ACID Pro receive 60 days of complimentary phone support. The
complimentary support begins the date of your first call. (Registration is required to receive this
complimentary support.) Please call (608) 204-7704 if you need assistance with your Pro version product.
User manual feedback
If you have comments or suggestions about this user manual, we would like to hear from you. Send us e-mail
at docfeedback@sonicfoundry.com.
Telephone/Fax Country
1-800-577-6642 (toll-free) US, Canada, and Virgin Islands
+800-000-76642 (toll-free) Australia, Denmark, France, Germany, Italy, Sweden, UK,
Netherlands, and Japan
+608-204-7703 All other countries
1-608-250-1745 (fax) All countries
Telephone/Fax/E-mail Country
1-800-577-6642 (toll-free) US, Canada, and Virgin Islands
+800-000-76642 (toll-free) Australia, Denmark, France, Germany, Italy, Sweden, UK,
Netherlands, and Japan
+608-204-7703 All other countries
1-608-250-1745 (fax) All countries
customerservice@sonicfoundry.com
The information contained in this manual is subject to change without notice and does not represent a
commitment on the part of Sonic Foundry. The software described in this manual is provided under the
terms of a license agreement or nondisclosure agreement. The software license agreement specifies the terms
and conditions for its lawful use.
Sonic Foundry and ACID are registered trademarks of Sonic Foundry, Inc. ASIO is a trademark and VST is
a registered trademark of Steinberg Media Technologies AG. AC-3 is a trademark of Dolby Laboratories.
Other brands and products named here are the trademarks or registered trademarks of Sonic Foundry, its
affiliates, or their respective holders.
Copyright © 2002-2003 Sonic Foundry, Inc. This user guide can be reproduced for noncommercial reference
or personal/private use only and may not be resold. Any reproduction in excess of fifteen copies or electronic
transmission requires the written permission of Sonic Foundry.
A special note concerning the use of the Dolby Digital trademark:
Dolby Laboratories encourages use of the Dolby Digital trademark to identify soundtracks that are encoded
in Dolby Digital. This is an effective way to inform listeners of the soundtrack format, and the use of a
standard logo promotes easy recognition in the marketplace. However, like any trademark, the Dolby Digital
logo may not be used without permission. Dolby Laboratories therefore provides a standard trademark license
agreement for companies who wish to use Dolby trademarks. This agreement should be signed by the
company that owns the program material being produced. Recording studios or production facilities which
provide audio production or encoding services for outside clients generally do not require a trademark
license.
If you would like more information on obtaining a Dolby trademark license, please contact Dolby
Laboratories Licensing Corporation. Information on trademark licensing plus instructions for using the
Dolby Digital trademark and marking audio formats can also be found on-line at http://www.dolby.com.
Dolby Laboratories Licensing Corporation
100 Potrero Ave.
San Francisco, CA 94520 USA
Phone: 415-558-0200
Fax: 415-863-1373
E-mail: tsa@dolby.com
http://www.dolby.com
Sonic Foundry, Inc.
1617 Sherman Avenue
Madison, WI 53704
USA
TABLE OF CONTENTS
1
Table of Contents
Introducing ACID . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Welcome to Sonic Foundry ACID . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
System requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
Installing ACID . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Using online help. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12
Online help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
What’sThis? help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Help on the Web . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Overview of ACID. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Main interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Track list . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Track view . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Window docking area . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Keyboard command reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19
Audio signal flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
MIDI signal flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
What’s New?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Mixing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Plug-in effects automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
5.1 surround mixing and surround pan automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Alternate time signatures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
ASIO driver support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Loop Cloning in the Chopper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Bus tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Enhanced time stretching for Beatmapped tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
New audio panning types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
New envelope fade types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
ReWire support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
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MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
MIDI piano roll editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
MIDI step recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
MIDI event list editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
VSTi support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Yamaha OPT support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Optimized DLS and VSTi soft synth controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Multiple media file previewing and Explorer enhancements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Hotkey commands for track muting and soloing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Optimized ACID playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Autosave crash recovery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Customizable default track properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Windows Media Audio and Video import . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32
Enhanced video handling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Starting projects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Setting project properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Opening existing projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Getting media files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Previewing media from the Explorer window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Adding media to the project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Understanding track types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Loops . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
One-shots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Beatmapped . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Adding and editing events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Painting events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Changing the length of events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Erasing sections of events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Moving events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Using the cursor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Positioning the cursor with the mouse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Positioning the cursor with the keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Positioning the cursor with the Go To command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
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Making selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42
Selecting an event . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Selecting multiple events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Creating time selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Creating event selections within time selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44
Working with tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Reordering tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Resizing tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Changing track colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Renaming tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Duplicating tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Deleting tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Copying, cutting, and pasting tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Adjusting the mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Muting tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Soloing tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Working with groups of tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Using undo and redo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Using undo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Undoing all edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Using redo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Clearing the undo history . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Playing the project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49
Using the transport bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Using playback options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Using the Mixer window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Viewing the Mixer window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Using the mixer toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Renaming mixer controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Using the mixer’s faders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Saving, rendering, and delivering projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Saving projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Rendering projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Publishing to the Internet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Writing to CD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Editing Events. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Copying events. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .59
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Pasting events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Using the Paste command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Using Paste Repeat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Using Paste Insert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Cutting events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Deleting events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Trimming events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Splitting events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Splitting at the cursor position . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Splitting an event . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Splitting multiple events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Splitting a time selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Splitting events within a time selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Joining events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Ripple editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Cutting events in ripple editing mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Deleting events in ripple editing mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Pasting events in ripple editing mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Slipping and sliding events. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Shifting the contents of (slipping) events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Slip-trimming events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Sliding events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Changing event properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Using event envelopes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Setting an event’s volume envelope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Setting an event’s fade-in and -out envelope curve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Creating crossfades between events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Working in the Track View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Using project markers and regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Working with standard markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Working with time markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Working with command markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Working with regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Using snapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Choosing snapping options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Changing tempo, time signature, and key. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Changing project tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Changing project time signature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Changing project key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
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Working with tempo/key/time signature change markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Changing a track’s key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Changing an event’s key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Adjusting time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Inserting time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Fitting to time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Using the Chopper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Working in the Chopper window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Viewing the Chopper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Changing the Chopper grid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Changing Chopper snapping options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Magnifying the Chopper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Previewing in the Chopper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Using Chopper toolbar and keyboard commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Inserting markers and regions in the Chopper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .87
Creating selections in the Chopper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Placing files in the Chopper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Creating selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Creating selections of a specific musical length . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .88
Inserting increments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Creating increments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Creating increments of a specific musical length . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .89
Creating increments of a custom musical length . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Inserting selections in the track view. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Using the Insert Selection button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Using copy and paste . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Dragging selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Moving the insert position in the track view . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Saving Chopper selections as new files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Using the Chopper with one-shots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Working with Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Using track effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .93
Creating or adding to track plug-in chains . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Arranging plug-in chain order . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Bypassing plug-ins in a chain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Removing plug-ins from chains . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Saving plug-in chains as packages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Removing or bypassing all effects on tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
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Using track envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Adding track envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Adjusting envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Using the Envelope tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Hiding track envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Removing track envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Choosing stereo pan types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Using the Beatmapper. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Understanding stretching properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Configuring track properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Adjusting general track properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Adjusting stretching properties for loop or Beatmapped tracks . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Adjusting track properties for MIDI tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Reloading files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Replacing files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Saving file properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Mixing multiple tracks to a single track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Exporting loops . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Using the Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Using busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Adding busses to the project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Routing tracks to busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Routing busses to system hardware . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
Deleting busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
Using assignable effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Adding assignable effect controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Working with assignable effects chains . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Routing tracks to assignable effect controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Routing assignable effect controls to busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .114
Deleting assignable effect controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Using soft synth controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Adding soft synth controls to projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Modifying soft synth control properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Using ACID with ReWire panel applications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119
Deleting soft synth controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Routing MIDI tracks to soft synth controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
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Using mixer controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120
Working with mixer controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120
Adding effects to mixer controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121
Working with multiple mixer controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125
Automating mixer controls in track view . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125
Recording in ACID. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
Recording audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .127
Setting ACID’s recording properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .128
Setting recording levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .129
Recording multiple takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .130
Reviewing and saving takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .130
Working with MIDI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Adding MIDI tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .131
Adding MIDI files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .131
Creating new MIDI files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .131
Recording MIDI tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .131
Changing MIDI track properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .132
Pitch shifting MIDI tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .132
Setting root notes for MIDI tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .132
Working with tracks in a MIDI file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .133
Previewing MIDI files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .134
Using the piano roll editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .134
Viewing the piano roll editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Previewing MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Selecting MIDI tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .136
Adding note events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .136
Editing note events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .137
Quantizing note events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .139
Deleting note events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .139
Undoing and redoing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .139
Saving MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .139
Using the list editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .140
Viewing the list editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .140
Previewing MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140
Filtering the list . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .141
Editing events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .141
Creating events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .145
Step recording events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .145
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Quantizing events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
Deleting events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
Undoing and redoing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
Saving MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
Loading third-party OPT plug-ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
Saving, reloading, or replacing MIDI files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
Routing MIDI tracks to MIDI devices or soft synth controls . . . . . . . . . . . . . . . . . . 149
Resetting MIDI ports . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149
Rendering projects with MIDI tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
Playing MIDI from external devices. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
Adding external devices as MIDI inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
Assigning MIDI inputs to soft synth controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
Synchronizing using MIDI timecode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Generating MIDI timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Triggering from MIDI timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
Generating MIDI clock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
Working with Video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Managing video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Adding or replacing video files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Removing the video track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Hiding and showing the video track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Synchronizing audio and video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Removing the video’s audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
Changing frame numbering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
Editing video events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
Moving video events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
Trimming video events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
Slipping and sliding video events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
Using the Video window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
Using toolbar buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
Using the shortcut menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
Viewing the status bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
Previewing on external monitors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
Scoring video with ACID . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
Working with 5.1 Surround . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
What is 5.1 surround?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
Setting up surround hardware. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
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Setting up surround projects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .158
Routing to hardware in the mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .159
Assigning audio to the LFE channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .160
Panning audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .160
Panning tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .161
Panning mixer controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .162
Using the Surround Panner window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .163
Automating panning. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .165
Turning on panning keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .165
Adding panning keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .165
Working with keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .166
Rendering surround projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .168
Burning AC-3 files to DVD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .169
Customizing ACID . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
Working with ACID windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .171
Docking and floating ACID windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .172
Changing the time ruler format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .173
Using the ruler offset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .173
Using the project grid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .174
Setting the grid type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .174
Using the toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .175
Hiding and displaying the toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .175
Reordering toolbar buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .175
Adding buttons to the toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .176
Removing buttons from the toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
Using the time display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .177
Changing cursor position . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .177
Changing the time display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .177
Monitoring MIDI timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .178
Setting default track properties. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .178
Setting ACID preferences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .179
Using the General tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .179
Using the Audio tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .181
Using the MIDI tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .182
Using the VST Instruments tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .182
Using the ReWire Devices tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .183
Using the Video tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .183
Using the Editing tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .183
Using the Sync tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
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Using the Other tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185
ACID Tips and Tricks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187
Adding long media files quickly. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187
Playing with duplicate tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187
Detuning paired tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187
Duplicating with offset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188
Creating ping-pong pan effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188
Adding depth with assignable effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189
Playing double time/half time. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189
Constructing the wall of sound. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190
Adding through subtraction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190
Tweaking the dynamics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190
Fading in and out of mixes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190
Adding build ups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Creating wah-wah effects with automated Track EQ . . . . . . . . . . . . . . . . . . . . . . . 191
Making automated changes more stark. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Abruptly changing volume or pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Turning automated effects on and off . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192
Making automated frequency changes more natural. . . . . . . . . . . . . . . . . . . . . . . 192
Overriding compress/expand. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
Slicing and dicing in the Chopper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
Chopping new loops for alternate time signatures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
Chopping multiple files into a new loop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
Creating drum-roll build ups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194
Creating drum fills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194
Creating one-track remixes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194
Creating DJ-style crossfades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194
Creating pseudo-granular synthesis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195
Building instrument solos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195
Building scales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195
Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .i
1
CHP. 1 INTRODUCING ACID
CHAPTER
11
Introducing ACID
Welcome to Sonic Foundry ACID
Congratulations on purchasing a revolutionary software application for Windows. Using Sonic Foundry
ACID® you can create great music by simply picking, painting, and playing.
System requirements
In order to use ACID, your computer must satisfy the following minimum specifications:
•300 MHz processor (400 MHz processor required for video scoring)
•Microsoft Windows 98SE, Me, 2000, or XP
•64 MB RAM (128 MB recommended)
•60 MB hard-disk space for program installation
•Windows-compatible sound card
•CD-ROM drive (required for installation from CD-ROM)
•Supported CD-recordable drive (required for CD burning)
•DirectX 8.0 (included on CD-ROM)
•Internet Explorer, version 4.0 or higher (version 5.0 included on CD-ROM)
Installing ACID
Prior to installing ACID, we recommend that you exit all open applications and temporarily turn off any
virus protection.
Note:
If you’re installing ACID on a system running
Windows 2000, your user account must be a member of the
Administrators group to install ACID and a member of the
Power Users group (or higher) to register ACID.
1.
Insert the ACID CD-ROM. The ACID Installation screen appears if CD-ROM AutoPlay is enabled.
Note:
If CD-ROM AutoPlay is turned off, click and
choose Run. In the Run dialog, enter the CD-ROM drive’s
letter and add :\setup.exe. Click OK to begin installation.
2.
Click Install Software to begin the installation process.
3.
Follow the on-screen prompts and enter the necessary information when required. At the final screen
prompt, click Finish.
1
12
INTRODUCING ACID CHP. 1
Using online help
You can access two varieties of help within ACID:
•Online help
•What’sThis? help (also referred to as context-sensitive help)
Online help
To access online help, choose Contents and Index from the Help menu or press .
Note:
To view online help, Internet Explorer 4.0 or later
must be installed on your system. Internet Explorer 5.0 is
included on the ACID CD-ROM for your convenience.
The Contents tab provides a list of available help topics. Double-click a closed book ( ) to open the pages
and then click a topic page ( ).
The Index tab provides a complete listing of the help topics available. Scroll through the list of available
topics or type a word in the Type in the keyword to find box to quickly locate topics related to that word. Select
the topic and click .
The Search tab allows you to enter a keyword and display all of the topics in the online help that contain the
keyword you have entered. Type a keyword in the Type in the word(s) to search for box and click .
Select the topic from the list and click .
The Favorites tab allows you to keep topics that you revisit often in a separate folder. To add a topic to your
favorites, click on the Favorites tab.
F1
Tabs
CHP. 1 INTRODUCING ACID
13
What’sThis? help
What’sThis? help allows you to view pop-up window descriptions for ACID menus, buttons, and dialog
boxes. Choose What's This? from the Help menu, press , or click the What’sThis? help button ( ) on
the toolbar and then click any ACID item. To use What’sThis? help in a dialog box, click the question mark
button ( ) in the upper-right corner of the dialog box and then click an item in the dialog box.
Help on the Web
Additional ACID help and information is available on the Sonic Foundry Web site. Choose Sonic Foundry
on the Web from the Help menu to view a listing of Web pages pertaining to ACID and Sonic Foundry. If
your browser is not already open, ACID will automatically start it for you.
Overview of ACID
ACID is designed to be a powerful and flexible, but easy-to-use music creation application. Many of the
ACID operations, menu items, and shortcut keys are common to other Sonic Foundry applications.
The following sections provide a tour of the ACID work area.
Main interface
The work area includes three main areas: the track list, the track view (or timeline), and the window
docking area. The other parts of the interface are tools and features used while creating and working with
your project. You can resize the track list, track view, and window docking area by dragging the dividers
between them.
Shift +F1
Track list
Window
docking
area
Divider
Track view
Divider
14
INTRODUCING ACID CHP. 1
Toolbar
The toolbar allows you to quickly access the most commonly used functions and features in ACID.
Opens a new project. You will be prompted to
save any changes to the current project.
Locks envelope points so they move with an
event when it is moved along the timeline.
Displays the Open File dialog. From this
window, you can browse all of the available
drives to select an ACID project or audio file
to open.
Activates the Draw tool to add and edit events.
Saves any changes to the current project.
The first time you save a project, the Save As
dialog appears.
Activates the Selection tool to select multiple
events.
Opens the Publish wizard so you can share
your ACID creation on the Web.
Activates the Paint tool to insert events across
multiple tracks.
When used in conjunction with the Ctrl key, the
Paint tool can paint an entire one-shot, MIDI, or
Beatmapped media file to an event with one
click.
Clears the selected items from the track view
and places them on the ACID clipboard. You
can then paste them to a new location.
Activates the Erase tool to erase events or parts
of events.
When used in conjunction with the Ctrl key, the
Erase tool can erase an entire one-shot, MIDI
track, or Beatmapped track event with one click.
Creates a copy of the selected items from the
track view on the ACID clipboard. You can
then paste them to a new location.
Activates the Envelope tool to select and modify
envelope points.
Inserts the contents of the ACID clipboard at
the current cursor position. The pasted items
cover any existing events. To make room for
pasted events, choose Paste Insert from the
Edit menu.
Activates the Time Selection tool to quickly select
all events within range of time.
Reverses the last action performed. ACID
supports unlimited undos, allowing you to
restore the project to any state since the last
save.
Opens a dialog where you can download media
from the Internet.
Reverses an undo. Opens a frequently updated Web page containing
special offers, tips, tricks, and other good stuff.
Turns the snapping feature on or off. With
snapping enabled, you can decide whether to
snap to the grid or to all elements (markers,
regions, etc.).
Activates What’sThis? help to obtain information
about a specific option, menu, or part of the
ACID window.
CHP. 1 INTRODUCING ACID
15
Track list
This list identifies the track order in your project and contains the track’s controls. The following sections
identify and briefly explain the controls located in the track list.
View buttons
These buttons control the track’s appearance (size) on the track list and the track view.
Track number and type
This area identifies the type of file (loop, one-shot, MIDI, Beatmapped) contained in the track as well as the
track’s number in the project. You can quickly change the track order by dragging selected tracks within the
track list.
Track name
When you add a file to a project, the track name is initially the same name as the file’s name. Right-click the
track name and choose Rename from the shortcut menu (or double-click) to change the track name.
Bus assignment
Clicking the Bus Assignment button ( ) and selecting a letter from the menu allows you to assign the
corresponding track to the specified output bus. However, the button is only available in projects containing
multiple busses. For more information, see Adding busses to the project on page 111.
On a MIDI track, the Device Selection button ( ) appears instead of the Bus Assignment button. This button
allows you to route a MIDI track to a soft synth or MIDI device. For more information, see Routing MIDI tracks
to MIDI devices or soft synth controls on page 149.
Track FX button
The Track FX button ( ) accesses the Audio Plug-In window from which you can add, edit, and apply effects
to the track. The button image changes ( ) to indicate when an automatable effect is present. For more
information, see Using track effects on page 93.
Track name
Track number/type
View buttons
Multipurpose slider
Bus assignment
Track FX
Mute
Solo
Multipurpose slider label
Surround panner (surround projects only)
Loop
One-shot
Beatmapped
MIDI
Track type icons
16
INTRODUCING ACID CHP. 1
Mute button
Clicking the Mute button ( ) temporarily suspends playback of the corresponding track, allowing you to
focus on the project’s remaining tracks. A muted track appears grayed out in the track view. For more
information, see Muting tracks on page 47.
Solo button
Clicking the Solo button ( ) isolates the track during playback by muting the project’s remaining tracks. For
more information, see Soloing tracks on page 48.
Surround panner
In 5.1 surround projects, the surround panner allows you to view and edit surround panning settings for a
track. Double-click a surround panner to view the Surround Panner window and make fine panning
adjustments. For more information, see Working with 5.1 Surround on page 157.
Multipurpose slider
This multipurpose slider allows you to control the following:
•A track’s volume relative to the project’s other tracks.
•A track’s placement in the stereo spectrum (panning).
•The level of the track’s signal being routed to each of the project’s busses.
•The level of the track’s signal being routed to an assignable effect control.
The multipurpose slider defaults to displaying a track’s volume control. ACID tracks are preset to -6.0
decibels (dB), but the volume range is -inf. to 12 dB. Each track’s slider position is independent from the
others; however, you can move sliders simultaneously by selecting multiple tracks before making your
adjustment. If you do not see this slider, expand the track.
You may choose what the slider controls by clicking the slider label. Changing the slider type for one track
changes it for all tracks so you can compare levels of the same control across the project. For more
information, see Adjusting the mix on page 46.
Track view
In the track view, you can view and edit the events in a track. The area in which events display is the
timeline. The track view contains other elements which are described in the following sections.
Zoom controls
Beat ruler
Marker bar
Transport Time ruler
(if displayed)
Loop bar
CHP. 1 INTRODUCING ACID
17
Marker bar
The marker bar runs the length of your project and contains the tags for markers and regions positioned
along the project’s timeline.
Beat ruler
The beat ruler allows you to place events in reference to the musical time of bars and beats. This ruler is
fixed and does not update when you change the tempo. This allows the events in the tracks to maintain
their size when you adjust the tempo.
Time ruler
The time ruler provides a timeline for your project. This ruler can show real time in many different formats.
For more information, see Changing the time ruler format on page 173. The ruler changes with tempo, since the
number of beats and beats per second of real time changes with tempo.
Transport bar
The transport bar contains the playback and cursor positioning buttons frequently used while working on
your project.
ACID also includes keyboard shortcuts for these playback commands. For more information, see Playback
commands on page 19.
Zoom controls
To the right of the horizontal scroll bar are the time zoom controls. Clicking the Zoom In Time button ( )
increases the horizontal magnification of the project. To decrease the level of magnification, click the Zoom
Out Time button ( ).
Directly below the vertical scroll bar are the dedicated track height zoom controls. Clicking the Zoom In Track
Height button ( ) increases the vertical magnification of the project. To decrease the level of magnification,
click the Zoom Out Track Height button ( ).
Note:
Double-clicking the horizontal or vertical scroll bars
adjusts the magnification so that as much of the project (either
horizontally or vertically) is displayed as possible.
Click the Zoom Tool button ( ) in the corner of the track view to temporarily change the cursor into the
Zoom tool. After you select an area of the track view to magnify, the cursor reverts to the previously active
tool.
Note:
Double-clicking the Zoom tool adjusts both the
horizontal and vertical magnification so that as much of the
project is displayed as possible.
Record new track Pause/resume project playback
Loop playback Stop playback
Play from beginning of project Move cursor to start of project
Play project from cursor position Move cursor to end of project
18
INTRODUCING ACID CHP. 1
Window docking area
This area allows you to keep frequently-used windows available
while working on a project. Windows can be docked side by side
or in stacks in the windows docking area. For more information,
see Docking and floating ACID windows on page 172.
Two windows display in the window docking area when you
start ACID for the first time: the Explorer and the Mixer. The
Chopper™, Video, Audio Plug-In, Track Properties, Surround
Panner, and Soft Synth Properties windows can be docked or
undocked after they are displayed by choosing the desired
window from the View menu.
Tip:
You can quickly hide or show the window docking area
by pressing .
Explorer window
The Explorer window works similarly to the Windows Explorer. You can use the Explorer window to locate,
preview and select media files to be added to your project. You can also use the Explorer window to perform
common file management tasks, such as renaming files or creating folders.
Mixer
The Mixer window provides access to output levels, as well as advanced features such as busses, assignable
effect chains, and soft synth controls. For more information, see Using the Mixer window on page 50.
Chopper
The Chopper isolates audio events so that you can dissect them and reinsert them into a project to produce
elaborate slice-n-dice effects with minimal effort. Display the Chopper by choosing Chopper from the View
menu or pressing . For more information, see Using the Chopper on page 85.
Video
This window displays prerendered video files that can be imported and synchronized with an ACID project.
The video file displays during project playback and can be rendered with the project to an appropriate
format. Display the Video window by choosing Video from the View menu or pressing . For more
information, see Using the Video window on page 155.
Audio Plug-In
This window displays plug-ins and settings for track, assignable, bus, and soft synth effects chains. Display
the Audio Plug-In window by clicking any FX button ( ) or by pressing . For more information, see
Using track effects on page 93 and Adding effects to mixer controls on page 121.
Track Properties
This window allows you to change track attributes and edit MIDI tracks using OPT plug-ins. Display the
Track Properties window by double-clicking a track’s icon or by pressing . For more information, see
Configuring track properties on page 105 and Working with MIDI on page 131.
Surround Panner
This window allows you to control panning in a 5.1 surround project. Display the Surround Panner window
by double-clicking the surround panner on a track or mixer control or by pressing . For more
information, see Working with 5.1 Surround on page 157.
Click a tab to
view a window
F11
Alt +2
Alt +4
Alt +5
Alt +6
Alt +7
CHP. 1 INTRODUCING ACID
19
Soft Synth Properties
This window allows you to change the attributes of soft synth controls in the Mixer window. Display the
Soft Synth Properties window by double-clicking a soft synth control’s icon or by pressing . For more
information, see Using soft synth controls on page 115.
Keyboard command reference
The ACID keyboard commands are shortcuts that you can use while working on your project.
Project file commands
Window view commands
Playback commands
Description Keys Description Keys
Create new project Ctrl+N Save project Ctrl+S
Create new project and bypass the
Project Properties dialog
Ctrl+Shift+N Open project’s properties Alt+Enter
Open existing project or media file Ctrl+O Close current project Ctrl+F4
Description Keys Description Keys
Set focus to track view Alt+0 Shift focus forward through open
ACID windows
F6
View the Explorer window Alt+1 Shift focus backward through open
ACID windows
Shift+F6
View the Chopper window Alt+2 Shift focus forward (clockwise)
through track list, track view, bus
track view, and bus track list
Tab
View the Mixer window Alt+3 Shift focus backward
(counterclockwise) through track
list, bus track list, bus track view,
and track view
Shift+Tab
View the Video window Alt+4 Show/hide bus tracks U
View the Audio Plug-In window Alt+5 Show/hide window docking area F11
View the Track Properties window Alt+6 Show/hide track list Shift+F11
View the Surround Panner window Alt+7 Show/hide track list and window
docking area
Ctrl+F11
View the Soft Synth Properties
window
Alt+8
Description Keys Description Keys
Start/stop playback Spacebar Record Ctrl+R
Stop playback Esc Go to start Ctrl+Home or W
Toggle looped playback on/off QGo to end Ctrl+End
Play from start Shift+Spacebar (when working
in the track view)
Shift+F12 (from any window)
Skip backward Page Up
Play from cursor Ctrl+Spacebar (when working in
the track view)
F12 (from any window)
Skip forward Page Down
Pause/resume playback Enter (when working in the
track view)
Ctrl+F12 (from any window)
Reset all MIDI ports (panic button) Ctrl+Alt+F7
Alt +8
20
INTRODUCING ACID CHP. 1
Cursor placement commands
Loop region commands
Selection commands
Event commands
Description Keys Description Keys
Go to beginning of active loop
region or view (if no selection)
Home Center in view \
Go to end of active loop region or
view (if no selection)
End Move cursor to opposite end of time
selection or loop bar
Numeric keypad 5
Go to beginning of project Ctrl+Home or W Move left to marker(s) Ctrl+Left Arrow
Go to end of project Ctrl+End Move right to marker(s) Ctrl+Right Arrow
Move left by grid marks Page Up Move left to event edit points
including fade edges
Ctrl+Alt+Left Arrow
Move right by grid marks Page Down Move right to event edit points
including fade edges
Ctrl+Alt+Right Arrow
Go to
(using measures, beats, and ticks)
Ctrl+G Move by one pixel Left or Right Arrow
Go to
(using absolute time)
Shift+G Move through a video event one
frame at a time
Alt+Left or Right Arrow
Move cursor to corresponding
marker or region
Number keys (not on numeric
keypad)
Description Keys Description Keys
Make a loop region Shift+Left or Right Arrow Double loop region length ‘ (apostrophe)
Extend loop region left by grid
marks
Shift+Page Up Halve loop region length ; (semicolon)
Extend loop region right by grid
marks
Shift+Page Down Shift loop region left , (comma)
Expand loop region one pixel Shift+Left or Right Arrow Shift loop region right . (period)
Make a loop region during playback I (in) and O (out) Snap loop region to event edges Ctrl+Shift+Alt+Left or Right
Arrow
Restore past loop regions
(up to last five)
Backspace Expand loop region by one video
frame
Shift+Alt+Left or Right Arrow
Select loop region Shift+Q (when Time Selection
tool is selected)
Description Keys Description Keys
Range selection (events) Shift+click range of events Select all Ctrl+A
Multiple selection (events) Ctrl+click individual events Unselect all Ctrl+Shift+A
Select loop region Shift+Q (when Time Selection
tool is selected)
Description Keys Description Keys
Paint the entire media file as an
event for one-shot, Beatmapped,
and MIDI tracks
Ctrl+click (on track with Paint
tool enabled)
Slip Trim: moves the media with the
edge as it is trimmed
Alt+drag edge of event
Erase entire event for one-shot,
Beatmapped, and MIDI tracks
Ctrl+click (on event with Erase
tool enabled)
Slip: move media within event
without moving the event
Alt+drag inside event
Undo Ctrl+Z Slide: move the event while leaving
the relative position of the media in
place
Ctrl+Alt+drag event
Redo Ctrl+Shift+Z Temporarily disable snapping while
moving event
Shift+drag
Cut selection Ctrl+X Copy event Ctrl+drag event
Copy selection Ctrl+C Pitch down one semitone Numeric keypad -
Paste from clipboard Ctrl+V Pitch up one semitone Numeric keypad +
Paste repeat Ctrl+B Pitch down one octave Ctrl+Numeric keypad -
Paste insert Ctrl+Shift+V Pitch up one octave Ctrl+Numeric keypad +
CHP. 1 INTRODUCING ACID
21
Track view commands
Track list commands
Delete selection Delete Pitch down 4 semitones
(Windows 2000 and XP only)
Shift+Numeric keypad -
Move selected event(s) right one
pixel
Numeric keypad 6 Pitch up 4 semitones
(Windows 2000 and XP only)
Shift+Numeric keypad +
Move selected event(s) left one pixel Numeric keypad 4 Reset pitch
(Windows 2000 and XP only)
Ctrl+Shift+Numeric keypad - or
+
Split event(s) SChange an event’s gain value Numeric keypad / or *
Join events J Change an event’s gain by 10% Shift+Numeric keypad / or *
Create fades FChange an event’s gain by 25% Ctrl+Numeric keypad / or *
Render to new track Ctrl+M Set an event’s gain to 0.0 dB Ctrl+Shift+Numeric keypad *
Trim/crop time-selected events only Ctrl+T Set an event’s gain to -inf (silence) Ctrl+Shift+Numeric keypad /
Description Keys Description Keys
Record Ctrl+R Show/hide bus tracks U
Turn on/off ripple edit mode Ctrl+L Turn on/off snapping F8
Select Draw tool Ctrl+D Toggle between snap to grid and
snap to all
Ctrl+F8
Select next edit tool in list DInsert region R
Select previous edit tool in list Shift+D Insert marker M
Mark in point for selection I or [ Insert time marker H
Mark out point for selection O or ] Insert command marker C
Show/hide track panning envelope PInsert tempo change marker T
Insert/remove track panning
envelope
Shift+P Insert key change marker K
Show/hide track volume envelope VInsert tempo and key change
marker
Shift+T
Insert/remove track volume
envelope
Shift+V Insert time signature change marker Shift+K
Toggle through display of track
effect automation envelopes
EChange project tempo Alt+drag time marker
Adjust envelope point value in fine
increments without changing the
envelope point’s timeline position
Ctrl+drag envelope point or
segment
Insert MIDI track Ctrl+Alt+Q
Adjust envelope point value in
normal increments without changing
the envelope point’s timeline
position
Ctrl+Alt+drag envelope point
or segment
Render to new track Ctrl+M
Move envelope point’s timeline
position without changing its value
Alt+drag envelope point
Description Keys Description Keys
Solo track X Decrease fader value Left Arrow
Mute track ZIncrease fader value Right Arrow
Delete track Delete Move track selection up one track Up Arrow
Pitch down one semitone Numeric keypad - Move track selection down one track Down Arrow
Pitch up one semitone Numeric keypad + Multi-select tracks Shift+Up or Down Arrow
Pitch down four semitones
(Windows 2000 and XP only)
Shift+Numeric keypad - Move track selection up one screen
of tracks
Page Up
Pitch up four semitones
(Windows 2000 and XP only)
Shift+Numeric keypad + Move track selection down one
screen of tracks
Page Down
Pitch down one octave Ctrl+Numeric keypad - Select all tracks Ctrl+A
Pitch up one octave Ctrl+Numeric keypad + Unselect all tracks Ctrl+Shift+A
Reset pitch
(Windows 2000 and XP only)
Ctrl+Shift+Numeric keypad +/-
Description Keys Description Keys
22
INTRODUCING ACID CHP. 1
View commands
Mixer commands
MIDI commands
Chopper commands
For more information, see Using Chopper toolbar and keyboard commands on page 86.
Surround Panner commands
For more information, see Moving the pan point on page 164.
Miscellaneous commands
Description Keys Description Keys
Zoom time in/out small increments
when track view has focus or zoom
to loop region (if one exists)
Up or Down Arrow Zoom track height in/out small
increments when track view has
focus
Shift+Up or Down Arrow
Zoom time in/out large increments
when track view has focus
Ctrl+Up or Down Arrow
Description Keys Description Keys
Change selection of a mixer control Left/Right Arrow Move the left channel of the fader
for the selected mixer control
Shift+Up/Down Arrow
Select multiple, adjacent mixer
controls
Shift+Left/Right Arrow Move the right channel of the fader
for the selected mixer control
Ctrl+Up/Down Arrow
Select multiple nonadjacent mixer
controls
Ctrl+Left/Right Arrow Delete the selected bus or control Delete
Move the fader of the selected mixer
control (for assignable effect
controls, moves the Out fader)
Up/Down Arrow
Description Keys Description Keys
Generate MIDI Timecode F7 Enable real-time MIDI Alt+F7
Trigger from MIDI Timecode Ctrl+F7 Reset all MIDI ports (panic button) Ctrl+Alt+F7
Generate MIDI Clock Shift+F7
Description Keys
Online help F1
What’sThis? help Shift+F1
Shortcut menu Shift+F10
Refresh screen F5
CHP. 1 INTRODUCING ACID
23
Mouse scroll-wheel shortcuts
Description Keys
Zoom in on timeline Default mouse wheel behavior
Horizontal scroll Shift+wheel
Vertical scroll Ctrl+wheel
Move by video frames Ctrl+Shift+Alt+wheel
Move the cursor in grid increments Ctrl+Shift+wheel
Auto-scrolling Press mouse wheel and move
the mouse in the desired
direction
Move fader Wheel over a fader
Make fine fader adjustments Ctrl+wheel over a fader
Move pan point front/back in
Surround Panner window
Default mouse wheel behavior
(when pan point is selected)
Move pan point left/right in
Surround Panner window
Shift+wheel
(when pan point is selected)
24
INTRODUCING ACID CHP. 1
Audio signal flow
Master Bus Control
Audio event* Event envelope
Bus send
Track FX
Track volume
Pan track†
Mute track
Assignable FX send
Input Chain Output
Mute
VolumeFX Mute
Hardware
Bus assignment
output
Bus pre/post volume
Assignable FX
Assignable FX
Bus Control
Bus assignment
pre/post volume
VolumeFX Mute
Hardware
output
(Pan)^
(Pan)‡
Pre
Post
Pre
Post
CHP. 1 INTRODUCING ACID
25
Notes on audio signal flow
* This diagram describes non-MIDI audio events. For MIDI events, see MIDI signal flow on page 26.
† In 5.1 surround projects, tracks routed to the Surround Master bus send surround panning (six-channel)
information. Tracks routed to busses (e.g., Bus A) send stereo panning (two-channel) information.
‡Assignable effect chain panning is available only in 5.1 surround projects. In 5.1 surround projects,
assignable effect chains routed to the Surround Master bus send surround panning (six-channel)
information. Assignable effect chains routed to busses (e.g., Bus A) send stereo panning (two-channel)
information.
^ Bus panning is available only in 5.1 surround projects. In 5.1 surround projects, busses routed to the
Surround Master bus send surround panning (six-channel) information. Busses routed to hardware send
stereo panning (two-channel) information.
26
INTRODUCING ACID CHP. 1
MIDI signal flow
MIDI event Track volume
Mute track
VolumeFX Mute
Soft Synth Control
(Pan)*
Device or soft synth assignment
DLS or VSTi assignment
External
MIDI
device
DLS
voice set
VST
instrument
MIDI
Audio
Master Bus Control
VolumeFX Mute
Hardware
output
Bus Control
VolumeFX Mute
Hardware
output
(Pan)^
CHP. 1 INTRODUCING ACID
27
Notes on MIDI signal flow
* Soft synth panning is available only in 5.1 surround projects. In 5.1 surround projects, soft synth controls
routed to the Surround Master bus send surround panning (six-channel) information. Soft synth controls
routed to busses (e.g., Bus A) send stereo panning (two-channel) information.
^ Bus panning is available only in 5.1 surround projects. In 5.1 surround projects, busses routed to the
Surround Master bus send surround panning (six-channel) information. Busses routed to hardware send
stereo panning (two-channel) information.
28
INTRODUCING ACID CHP. 1
2
CHP. 2 WHAT’S NEW?
CHAPTER
29
What’s New?
This chapter is intended for experienced ACID users. It simply addresses the question on everyone’s mind:
“What’s new in this version of ACID?”
Mixing
Plug-in effects automation
In ACID 4.0, you can automate the parameters of plug-ins, provided that the plug-ins support automation.
Effect automation relies on track envelopes, a tool you may already be familiar with from creating volume,
pan, bus send, or assignable effect send envelopes.
You can choose which parameters of a given effect to automate and then add points to a track envelope for
the different parameter settings. By viewing bus tracks, you can automate effects not only for tracks, but for
busses, assignable effects, and soft synth controls. For more information, see Bus tracks on page 30.
ACID 4.0 includes new Sonic Foundry automatable effects such as Flange/Wah-wah, Resonant Filter, and
Tr ac k E Q .
For more information, see Adding effect automation envelopes on page 98.
5.1 surround mixing and surround pan automation
ACID 4.0 introduces 5.1 surround mixing capability and surround panning automation. In a surround
project, you pan tracks or busses using the Surround Panner window. For even greater control, you can add
keyframes to automate panning changes over time.
Note:
ACID mixes 5.1-channel audio only. Authoring
software such as the Sonic Foundry 5.1 Surround Plug-In
Pack is required to encode final output in AC-3™ format.
For more information, see Working with 5.1 Surround on page 157.
Alternate time signatures
ACID 4.0 breaks free from the 4/4 model and allows you to see (and snap to) measures of any time signature
from 1/1 to 99/32. You can choose a custom time signature for the project, as well as change time signatures
along the timeline by adding time signature change markers. For more information, see Changing tempo, time
signature, and key on page 79.
2
30
WHAT’S NEW? CHP. 2
ASIO driver support
In addition to supporting Microsoft Mapper, Windows Classic Wave, and WDM drivers, ACID 4.0 now
supports ASIO™ drivers. With its more direct data delivery to the sound card, the ASIO driver model
provides professional users with faster audible responses. You can choose which driver model ACID uses on
the Audio tab in the Preferences dialog. For more information, see Using the Audio tab on page 181.
Loop Cloning in the Chopper
ACID 4.0 provides the option to create new loops using the Chopper. Simply open a track in the Chopper,
make a selection for the new loop, and drag the selection to the track list. ACID saves the selection as a new
file and adds it to the project as a new track. For more information, see Saving Chopper selections as new files on
page 90.
Bus tracks
You can now view any mixer control (bus, assignable effect, or soft synth) on a track at the bottom of the
track view. This allows you to add envelopes to any of these controls. Want to pan several tracks as a group?
Route the tracks to a bus and pan the bus using a pan envelope on the bus track. Want your assignable effect
parameters to change over time? Add an effect automation envelope to the bus track for the assignable
effect. For more information, see Automating mixer controls in track view on page 125.
Enhanced time stretching for Beatmapped tracks
In ACID 4.0, you can time-stretch a Beatmapped track with less stuttering and improved playback.
New audio panning types
Whether you’re using standard stereo panning or 5.1 surround panning, you can choose from among five
types of panning for ACID tracks and busses. For more information, see Choosing stereo pan types on page 103.
New envelope fade types
ACID 4.0 provides three new fade types: smooth, sharp, and hold. Fade types determine the interpolation
between two envelope points. For more information, see Changing envelope fade curves on page 100.
ReWire support
ACID is now a ReWire mixer (host) application. For more information, see Using soft synth controls on page
115.
MIDI
MIDI piano roll editing
ACID 4.0 introduces a piano roll editor that you can use to create, edit, and quantize MIDI data. The piano
roll editor is one of two OPT (Open Plug-in Technology) plug-ins included in ACID 4.0. For more
information, see Using the piano roll editor on page 134.
MIDI step recording
The new list editor OPT plug-in allows you to step record MIDI from within ACID. For more information, see
Step recording events on page 145.
CHP. 2 WHAT’S NEW?
31
MIDI event list editing
ACID 4.0 includes a list editor OPT plug-in that gives you direct access to all MIDI data for a track. You can
use the list editor to add, edit, quantize, and delete MIDI events or to step record new MIDI material. For
more information, see Using the list editor on page 140.
VSTi support
You can route MIDI tracks in an ACID 4.0 project to a VST® instrument (VSTi) using the new soft synth
controls in the Mixer window. For more information, see Using soft synth controls on page 115.
Yamaha OPT support
ACID 4.0 is an early adopter for Yamaha's new Open Plug-in Technology (OPT) specification. You can
choose any OPT plug-in (including a piano roll editor and a list editor included with ACID) to edit a MIDI
track. This expands ACID's MIDI capabilities to allow plug-ins for MIDI edit views, MIDI effect processors
and filters, arpeggiators, and real-time panel automation. For more information, see Working with MIDI on page
131.
Optimized DLS and VSTi soft synth controls
With this release, you can route MIDI tracks to a soft synth control in the Mixer window. The soft synth
control acts as a sound module, allowing you to choose a DLS set or VST instrument to which you can route
MIDI tracks or external MIDI input devices. For more information, see Using soft synth controls on page 115.
Workspace
Multiple media file previewing and Explorer enhancements
The Explorer allows you to select multiple files and preview them in sequence. For more information, see
Previewing multiple media files on page 35.
You can also rename media files from within the Explorer window. Simply right-click a file, choose Rename
from the shortcut menu, and enter a new name for the file.
Hotkey commands for track muting and soloing
Press to solo or to mute selected tracks or busses in your ACID 4.0 project.
Optimized ACID playback
The new ACID audio engine is designed to take advantage of the latest processing power, allowing you to
enjoy significant performance increases during playback.
Autosave crash recovery
ACID automatically saves your work for you so that you can recover your work if your system crashes. For
more information, see Using the General tab on page 179.
Customizable default track properties
You can choose the default volume, pan type, height, track effects, and MIDI editors for all new tracks you
create in ACID. For more information, see Setting default track properties on page 178.
X Z
32
WHAT’S NEW? CHP. 2
Video
Windows Media Audio and Video import
You can now add Windows Media Audio (WMA) and Windows Media Video (WMV) files to an ACID
project.
Enhanced video handling
ACID 4.0 provides two new options for rendering projects containing video: Stretch video to fill output frame
(do not letterbox) and Fast video resizing. For more information, see Rendering projects on page 54.
In addition, the Video window now provides an option to display square pixels to compensate for any spatial
distortions due to non-square pixel aspect ratios. For more information, see Using the Video window on page
155.
3
CHP. 3 GETTING STARTED
CHAPTER
33
Getting Started
Now that you have an understanding of ACID’s interface and controls, you are ready to begin learning the
techniques needed to pick, paint, and play ACID projects. In this chapter you will learn the skills that will
allow you to create music in ACID, from locating media files to writing the finished project to CD.
Starting projects
Double-clicking the ACID icon on the desktop starts ACID. You can immediately begin building your
ACID project using the application’s default project properties. However, you may prefer to customize the
project properties prior to beginning the project.
Setting project properties
ACID allows you to configure project properties and add summary information prior to beginning a project.
Choosing New from the File menu displays the New Project dialog. This dialog contains two tabs: Summary
and Audio. Selecting the Start all new projects with these settings check box configures ACID to use the
parameters and information in both tabs as defaults when starting all subsequent projects.
Note:
You can edit project audio properties and summary
information at any time. Choose Properties from the File
menu to display the Project Properties dialog, which contains
the identical tabs and parameters as the New Project dialog.
Using the Summary tab
This tab allows you to enter information about the project. These boxes may be left blank or if information
exists, you may change it at any time.
Item Description
Title Enter the name or title of the project.
Artist Enter the name of the narrator, band, or artist(s) being recorded into the project.
Engineer Enter the name(s) of the people who mixed and edited the project.
Copyright Enter the date and ownership rights of the project.
Comments Enter information that identifies and describes the project.
Start all new projects with these
settings
Select this check box if your projects’ requirements do not change or you want consistent
settings for future projects.
3
34
GETTING STARTED CHP. 3
Using the Audio tab
This tab allows you to set different characteristics the project uses to handle the audio.
Opening existing projects
1.
From the File menu, choose Open. The Open dialog appears.
2.
Choose a drive and folder from the Look in drop-down list.
3.
Select a file in the browse window or type a name in the File name box. Detailed information about the
selected file appears at the bottom of the dialog box.
4.
Choose a file type from the Files of type drop-down list to limit the files displayed in the dialog box.
5.
Click Open.
Note:
If ACID is unable to locate one of the media files
when you open an ACID project, you can choose to leave the
media offline and continue to edit events on the track. The
events point to the location of the source media file. If you
restore the source media file at a later time, the project opens
normally.
Opening ACID projects with embedded media
When you open an .acd-zip project, the project file and all media files are copied to the temporary files
folder.
Note:
You can customize the location of the temporary files
folder. For more information, see Using the General tab on
page 179.
Any changes you make to the project are saved to the files in this temporary folder until you save the .acd-zip
file again. For more information, see Saving projects on page 53.
Item Description
Master bus mode Choose either Stereo for a standard audio project or 5.1 Surround for a surround
project.
Number of additional stereo busses Enter the number of stereo busses that you want in your project. You may add up to 26
busses. The busses appear in the Mixer window.
For more information, see Using busses
on page 111
.
Sample rate Choose a sample rate from the drop-down list or enter your own rate. The sample rate
range is 2,000 Hz to 192,000 Hz. Higher sample rates result in better quality sound,
but also mean larger audio files.
Bit depth Choose a bit depth from the drop-down list. A higher bit depth results in better quality
sound, but also means larger audio files.
Enable low-pass filter on LFE Select this check box to limit the audio sent to the LFE channel in a 5.1 surround project.
For more information, see Working with 5.1 Surround on page 157
.
Cutoff frequency for low-pass filter Enter a low-pass cutoff frequency value for 5.1 surround projects. ACID limits audio sent
to the LFE channel to frequencies lower than the value you enter. Applying a low-pass
filter approximates the bass-management system in a 5.1 decoder and ensures that
you’re sending only low-frequency audio to the LFE channel.
Low-pass filter quality Choose a setting from the drop-down list to determine the sharpness of the low-pass
filter’s rolloff curve. Best produces the sharpest curve.
Start all new projects with these
settings
Select this check box if your project requirements do not change or you want consistent
settings for future projects.
CHP. 3 GETTING STARTED
35
Getting media files
Now that you’ve created a new project or opened an existing project, the next step is to add media to the
project. You can use the Explorer window to locate, preview and add media to your project. You can also
extract audio from a CD or download media from the Web.
Previewing media from the Explorer window
The Explorer window allows you to preview files in looped playback at the current project tempo before
adding them to your project. You can also preview files in the Explorer in conjunction with playing your
project, thereby allowing you to preview how a file will sound in the project.
To preview files, use the Start Preview ( ), Stop Preview ( ), and Auto Preview ( ) buttons at the top of
the Explorer window.
Previewing a media file
1.
Select the media file in the Explorer window that you want to preview.
2.
Click the Start Preview button ( ). The media file begins looped playback. You can monitor its levels on
the preview bus.
3.
Click the Stop Preview button ( ) to end playback.
Previewing multiple media files
You can use the Explorer’s multiple-selection preview feature to preview a group of files in the order that you
select them.
1.
From the Options menu, choose Preferences, and on the Other tab of the Preferences dialog, select the
Enable multiple-selection preview in Explorer window check box.
If you want, you can enter values in the Number of times to repeat each Loop box, Seconds of each One-Shot to
play box, and Number of Beatmapped measures to play box to specify how ACID previews different file types.
2.
Click OK to close the Preferences dialog.
3.
In the Explorer, select the media you want to preview. Hold while clicking to select multiple,
adjacent files or hold while clicking to select multiple, nonadjacent files.
4.
Click the Start Preview button ( ). ACID previews the first selected file in the list and continues through
the list of selected files. ACID changes a file’s icon to a Play icon ( ) to indicate which file is currently
previewing.
Note:
To add the currently previewing file to your project,
press +. Press to add all selected files to your
project.
Using Auto Preview
The Auto Preview button ( ) sets ACID to automatically play back media files when you select them in the
Explorer. If your project is currently playing when you select a new file, the new file plays back along with
your project. This feature allows you to listen to the media file in the context of your project.
Click the Auto Preview button ( ) to toggle auto preview on or off.
Shift
Ctrl
Ctrl Enter Enter
36
GETTING STARTED CHP. 3
Adding media to the project
You must add media files to a project before you can paint, arrange, and process them. When you add a file to
a project, ACID creates a new track to accommodate it. ACID adds new tracks at the current volume of the
Preview fader in the Mixer window, unless you have set a default track volume level. For more information,
see Setting default track properties on page 178.
There are several methods of adding media files to a project.
Note:
ACID may create proxy files for media whose
compression scheme may cause working with them to be
inefficient and slow. For more information, see Proxy File on
page 201.
Note:
Before using long Beatmapped or long one-shot files
from CDs or shared network folders, copy the media to your
local drive for the best possible performance.
ACID temporary files
When you add a media file to a project from a removable device, ACID stores a copy of the media file in the
temporary files folder. This keeps the media file available for use even if the source of the media is no longer
accessible.
Note:
You can customize the location of the temporary files
folder. For more information, see Using the General tab on
page 179.
Be aware that the temporary files folder is cleared when you close ACID. However, files are not cleared from
the folder if ACID closes inappropriately.
Adding media files from the Explorer window
The Explorer window will likely be your primary means of locating media files used in projects. Display the
Explorer, if needed, by choosing Explorer from the View menu, or by pressing .
There are three ways to add media files from the Explorer window:
•Double-click the desired file.
•Drag the file from the Explorer to the track view or track list. Dragging a file from the Explorer to the
track name of an existing track allows you to replace the original file with the new file, while all events
remain in place.
•Right-click and drag a file to the track view or track list to specify the type of track to be created. When
you drop the file, a shortcut menu appears that allows you to choose whether to treat the file as a loop,
one-shot, Beatmapped track, or as an autodetected type.
Adding media files from the Open dialog
There are three ways to add media files from the Open dialog:
•Select the desired file and click Open.
•Right-click the selected file and choose Select from the shortcut menu.
•Double-click the selected file.
Alt + 1
CHP. 3 GETTING STARTED
37
Adding media files from outside the application
You can also add a media file to a project by dragging it from Windows Explorer to the track view.
Adding multiple media files simultaneously
To add multiple media files to the project, +click (or +click) to select the files and drag them to the
track view or the track list.
Extracting media files from CD
ACID allows you to extract 44,100 Hz, 16-bit, stereo data from CDs. ACID adds extracted CD tracks to new
tracks in your ACID project.
1.
Insert a CD in the CD-ROM drive.
2.
From the File menu, choose Extract Audio from CD. The Extract Audio from CD dialog appears.
3.
If you have more than one CD drive, choose the CD drive that contains the audio you want to extract
from the Drive drop-down list.
4.
From the Action drop-down list, choose how you
want to extract audio:
•Choose Read by track and select each track you
want to extract. ACID extracts each track to a
new track in your project.
•Choose Read entire disc to extract the current CD
to a single file.
•Choose Read by range and enter a starting time
and ending time (or a starting time and length).
ACID extracts the time range to a new track in
your project.
Click Play to preview your selection. In order to
preview, your CD drive’s audio output must be
connected to your sound card, or you can connect
headphones to the front of the CD drive.
5.
From the Speed drop-down list, choose the speed at which you want to extract audio.
6.
Click OK. The Save As dialog appears.
7.
Enter a file name and choose a location for the new file(s).
Note:
ACID can automatically name extracted tracks for
you. From the Options menu, choose Preferences, and on
the General tab, select the Autoname extracted CD tracks
check box. For more information, see Using the General tab
on page 179.
8.
Click Save to start extracting audio.
ACID begins extracting data from the CD and displays a progress meter. If the file is longer than 30
seconds, the Beatmapper™ Wizard appears.
9.
Use the Beatmapper Wizard or choose to open the file as a one-shot. ACID adds the extracted file to a
track. For more information, see Using the Beatmapper on page 103.
Ctrl Shift
38
GETTING STARTED CHP. 3
You can also double-click a CDA file in the Explorer window (or drag it to the track view) to extract a CD
track without opening the Extract Audio from CD dialog.
Note:
When adding media from multiple CDs, you may
need to press to refresh the Explorer window to view the
new CD’s contents.
Downloading media files from the Web
The Get Media from the Web command allows you to view and download various audio and video files
available on the Internet.
1.
From the File menu, choose Get Media from the Web.
2.
Choose an icon from the left frame to specify the media provider from which you want to download files.
3.
Preview the file, select the file you want to open and click Download. The Browse for Folder dialog appears.
4.
Select a folder for the download. The selected file is downloaded to the folder specified in the Destination
box.
5.
When you are done downloading, close the Get Media from the Web dialog. ACID adds the file(s) to
your project.
Click Show Details to display additional information about your download. In this mode, you can add files to
a download queue, specify where the downloaded files should be stored, and monitor the progress of your
downloads. Click Start to begin downloading queued files, or click Hide Details to return to basic mode.
Understanding track types
When you add media to a project, ACID creates a new track for the file. Depending on the type of media you
add, ACID creates one of four track types to accommodate it: loop, one-shot, Beatmapped, or MIDI. You can
identify a track’s type by looking at the track number/type icon in the track header.
Loops
Loops are small chunks of audio that are designed to create a continuous beat or pattern when played
repeatedly. They are usually one to four measures long. Loops are the type of file that you will use most
frequently.
One-shots
One-shots are chunks of audio that are not designed to loop, and they are streamed from the hard disk rather
than stored in RAM if they are longer than three seconds. Things such as cymbal crashes and sound bites
could be considered one-shots.
Unlike loops, one-shots do not change pitch or tempo with the rest of a project.
Beatmapped
When you add a file that is longer than thirty seconds to a project, the Beatmapper Wizard starts, allowing
you to add tempo information to the file. As a result, these tracks respond to tempo and key changes just like
loops. For more information, see Using the Beatmapper on page 103.
F5
CHP. 3 GETTING STARTED
39
Tip:
You can change the length of the file that starts the
Beatmapper in the Audio tab of the Preferences dialog. For
more information, see Using the Audio tab on page 181.
MIDI
ACID creates a MIDI track when you open a MID, SMF, or RMI file. You can use MIDI tracks to record
data from and play back through synthesizers and other MIDI-compliant equipment. For more information,
see Working with MIDI on page 131.
Adding and editing events
You have added media to the project, and ACID has created tracks for the media files. Now you can add
events to the track view. The following sections describe three basic techniques used when working with
audio events: painting, deleting, and moving.
Painting events
After you add a media file to your project, you must paint it on the timeline in order to hear it. When you
paint on the media file’s track, you create an event that displays the file’s waveform. You can paint events on
the timeline using either the Draw tool or the Paint tool.
Note:
Media files must be added to the project before either
of these tools can be used to paint events.
Placing events with the Draw tool
The Draw tool is the most common method of placing events on the timeline. This tool allows you to add
track-specific events, one at a time. In addition, you can use the Draw tool to select, edit, and move events.
For more information, see Adding and editing events on page 39.
1.
Click the Draw Tool button ( ) or choose Editing Tool from the Edit menu and choose Draw from the
submenu. The pointer displays as a pencil icon.
2.
Place the Draw tool at the left edge of any track containing a media file.
3.
Click and hold the mouse button while dragging the Draw tool to the right. A waveform representing the
event appears on the timeline as you drag the mouse.
Notice that if you are placing a loop file on the timeline, small indentations appear along the top and
bottom edges of the event indicating the start and end points of each individual loop.
Tip:
Events can be also be drawn from right (end) to left
(beginning).
4.
Release the mouse button to end the event.
5.
Click the Play from Start button ( ) on the transport bar. The event plays back.
40
GETTING STARTED CHP. 3
Painting events with the Paint tool
Unlike the Draw tool, the Paint tool allows you to quickly paint multiple events across several tracks. This
can be useful when you need to quickly add several seemingly random events to a project. The Paint tool is
also best used for painting multiple one-shot events that will be evenly spaced on the grid lines.
1.
Click the Paint Tool button ( ) or choose Editing Tool from the Edit menu and choose Paint from the
submenu. The mouse pointer displays as a brush icon.
2.
Click and hold the mouse button while dragging the Paint tool randomly across the several tracks. Notice
that events are painted in every grid space the Paint tool contacts.
3.
Release the mouse button to stop adding events.
4.
Click the Play from Start button ( ) on the transport bar. All new events play back.
Tip:
With the Paint tool selected, you can use +click to
paint an entire event for one-shot, Beatmapped, and MIDI
tracks.
Changing the length of events
After an event is painted on the track view, you may discover that it is too long or not long enough;
however, ACID makes it easy to change the length of an event. You may find it helpful to turn snapping
options on by choosing Snapping from the Options menu and choosing Enable from the submenu.
To alter an event’s length, click the Draw Tool button ( ) and drag either end of the event. When you drag
the event past the end of the file, looped files repeat, but one-shot and Beatmapped tracks draw silence.
Erasing sections of events
Occasionally you may need to delete only specific sections of an event and leave the rest of it intact. The
easiest method of deleting a section of an event is to use the Erase tool.
1.
Click the Erase Tool button ( ) or choose Editing Tool from the Edit menu and choose Erase from the
submenu. The pointer displays as an eraser icon.
2.
Drag in the track view to delete event data.
Tip:
With the Erase tool, you can delete an entire one-shot,
Beatmapped, or MIDI event. Just hold while you click
the event.
Ctrl
Original event Drag the end
of the event...
...to increase its length.
Ctrl
CHP. 3 GETTING STARTED
41
Moving events
The position of the left edge of an event indicates when the event becomes audible during playback. You can
move events along the timeline either individually or as a group.
In addition, you can stack events on top of one another. A longer event placed over a smaller event conceals
the smaller event and makes it inaudible. A smaller event placed over a larger event is audible and renders
the section of the longer event it covers inaudible.
1.
Click the Draw Tool button ( ).
2.
Click the event to be moved. The event is highlighted to indicate that it is selected.
Tip:
You can hold or to select multiple events.
3.
Drag the event to a new location on the track.
Note:
Multiple selected events move in relation to the event
being dragged.
Using the cursor
ACID’s cursor is a flashing vertical line that spans the track view of the entire project. The cursor position
determines where events split, where playback/recording starts, and where clipboard contents are pasted. In
addition, the positioning of the cursor is essential to the creation of time selections.
Positioning the cursor with the mouse
1.
Click the Draw Tool button ( ).
2.
Click in the track view to position the cursor.
Positioning the cursor with the keyboard
While using the mouse to position the cursor in the timeline is quick and intuitive, it is not always precise.
For example, you may want the beginning of a guitar solo to coincide with a snare drum hit, or background
vocals to enter exactly 3 minutes and 24 seconds into a song. For these reasons, ACID also allows you to
position the cursor using your keyboard. For more information, see Cursor placement commands on page 20.
Ctrl Shift
42
GETTING STARTED CHP. 3
Positioning the cursor with the Go To command
The Go To command is used to place the cursor at a specific location in the ACID project.
•Press to position the cursor based on the position displayed on the beat ruler. Specify a position
(in measures.beats.ticks format) in the box that appears in the time display and press .
•Press to position the cursor based on the time displayed on the time ruler. Specify a time in the
box that appears in the time display and press .
Tip:
You can also open the boxes in the time display by
double-clicking the desired value.
Making selections
You must select events before you can move or edit them.
Selecting an event
1.
Click the Draw Tool button ( ).
2.
Click an event. The event is highlighted.
Selecting multiple events
ACID provides you with several methods of selecting multiple events:
•Press or while clicking events.
•Use the Select All on Track command.
•Use the Select Events to End command.
•Use the Select All command.
•Use the Selection tool.
Note:
Unless stated otherwise, selections can only be made
using the Draw tool.
Ctrl +G
Enter
Shift +G
Enter
Selected event
Ctrl Shift
CHP. 3 GETTING STARTED
43
Selecting multiple events using the keyboard and mouse
Holding while clicking events allows you to select multiple, nonadjacent events that reside on any
track. This method is useful when you need to move several scattered events by an equal amount within the
project.
Holding allows you to select multiple, adjacent events. Selecting any two events while holding
automatically selects all events located between the selected events. Events may be selected from the same
track or across tracks. This method is useful when you want to move several adjacent events by an equal
amount within the project.
Selecting multiple events using the Select All on Track command
Right-clicking any track in the track view and choosing Select All on Track from the shortcut menu selects
every event on the track.
Selecting multiple events using the Select Events to End command
Right-clicking an event in the track view and choosing Select Events to End from the shortcut menu selects
every event on the track after the selected event.
You use this command across multiple tracks by holding to click events on several tracks and then
right-clicking and choosing Select Events to End from the shortcut menu.
Selecting events using the Select All command
Choosing Select All from the Edit menu selects all events in a project.
Selecting multiple events using the Selection tool
You can drag the Selection tool across the track view to select events across multiple tracks. This tool allows
you to select events using three methods: vertical, horizontal, and free selection.
1.
Click the Selection Tool button ( ) or choose Editing Tool from the Edit menu and choose Selection from
the submenu.
2.
Place the pointer on the track view. The pointer displays as an arrow with an adjacent dotted box ( ).
3.
Drag the mouse on the track view. A dashed rectangular box appears on the track view and all events
within and adjacent to it are selected.
4.
While holding the left mouse button, click and release the right mouse button (referred to as toggle-
clicking). The selection method changes to vertical and again, all events within and adjacent to the
selection area are selected.
5.
Toggle-click the mouse once more. The selection method changes to horizontal and all events within and
adjacent to the selection area are selected.
Method Description Displays as...
Vertical Allows you to select all events on all
tracks within an interval of time.
Parallel dashed line spanning the vertical
length of the project.
Horizontal Allows you to select all events on a track
or several adjacent tracks.
Parallel dashed line spanning the
horizontal length of the project.
Free selection Allows you to select a group of adjacent
events on adjacent tracks. This is ACID’s
default selection method.
Dashed line box.
Ctrl
Shift Shift
Ctrl
44
GETTING STARTED CHP. 3
Creating time selections
ACID does not limit you to selecting events. Frequently, you may want to select only audio events occurring
within a time selection. You can do this using the Time Selection tool.
1.
Click the Time Selection Tool button ( ) or choose Editing Tool from the Edit menu and choose Time
Selection from the submenu. The pointer displays with an adjacent cursor ( ).
2.
Drag the mouse in the track view. The selection area is highlighted on the track view.
3.
Release the mouse button. A time selection is created and all events within it are selected.
Note:
If the selection area is automatically snapping to the
track view’s grid lines, ACID’s snapping feature is turned on.
You can turn snapping off by pressing .
Creating event selections within time selections
ACID also allows you to select specific events within a general time selection. This technique is useful for
selecting individual instruments from a particular section of a song. For example, you may want to copy all
percussion events from a song’s bridge and re-use them in the coda.
1.
Click the Time Selection Tool button ( ) or choose Editing Tool from the Edit menu and choose Time
Selection from the submenu. The pointer displays with an adjacent cursor ( ).
2.
Drag the mouse in the track view. The selection area is highlighted on the track view.
3.
Release the mouse button. A selection is created and all events within it are selected.
4.
Hold and click any event that extends beyond the time selection. The entire event appears
highlighted; however, only the section of the event contained within the time selection is actually
selected.
Tip:
You can select additional events within the time selection
by continuing to hold while clicking events. In addition,
holding allows you to select the events of multiple
adjacent tracks within a selection.
Working with tracks
ACID automatically creates a new track for each media file added to a project, and all events placed on the
track derive from that file. Because of this, you can use track-level functions to affect every event on the
track. The following sections explain several basic track functions and features.
F8
Ctrl
Ctrl
Shift
CHP. 3 GETTING STARTED
45
Reordering tracks
When building an ACID project, you may want to reorder the tracks to place similar instruments in
proximity to one another. For example, placing all drum loops together in the track view makes it easier for
you to fine-tune the mix of the song’s overall drum sound.
1.
Drag the track header to a new location in the track list. A heavy black horizontal line appears on the
track list to indicate where the track will be placed.
2.
Release the mouse button. The track is dropped in the new location and the entire track list/track view
adjusts accordingly.
Tip:
You can reorder multiple tracks by holding or
while selecting tracks and dragging the tracks as a group.
Resizing tracks
ACID allows you to change the height of a track, thereby affecting how many tracks display in the track
view. This is especially useful when building a project with a large number of tracks. In addition, you can
decrease the track’s height until only the multipurpose slider, Track FX button, Mute button, and Solo button
are visible.
1.
Drag the bottom edge of a track up or down in the track list. The pointer displays as a vertical stretch
icon ( ).
2.
Release the mouse button to establish the track’s new height.
Tip:
You can set the default height for all new tracks by right-
clicking the newly resized track in the track list and choosing
Set Default Track Properties from the shortcut menu. For
more information, see Setting default track properties on page
178.
Changing track colors
As mentioned previously, ACID automatically creates tracks to accommodate new media files. ACID also
supplies these tracks with a default color. However, you can change track colors to organize the tracks in
your project. To change the color, right-click the track in the track list, choose Color from the shortcut
menu, and choose the desired color from the submenu.
Renaming tracks
To rename a track, right-click the track name and choose Rename from the shortcut menu, or double-click
the track name. Renaming a track applies to the project only and does not change the file associated with
the track.
Duplicating tracks
To duplicate a track, right-click it and choose Duplicate Track from the shortcut menu. ACID creates an
exact copy of the track and its events and adds it below the original track in the project. The words “Copy
of” appear before the name of the duplicate track to identify it in the track list.
For creative ways to use duplicate tracks, see Playing with duplicate tracks on page 187.
Ctrl Shift
46
GETTING STARTED CHP. 3
Deleting tracks
You can delete unnecessary tracks from a project by selecting the track and using any of the following
methods:
•Choose Delete from the Edit menu.
•Right-click a track and choose Delete Track from the shortcut menu.
•Press .
Copying, cutting, and pasting tracks
Copying a track places an exact copy of the selected track on the clipboard, but leaves the track view
unchanged. To copy a track, select the track and do one of the following:
•Click the Copy button ( ) on the toolbar.
•Choose Copy from the Edit menu.
•Right-click the track header and choose Copy Track from the shortcut menu.
•Press .
Cutting a track removes it from the track view and places it on the clipboard. To cut a track, select it and do
one of the following:
•Click the Cut button ( ) on the toolbar.
•Choose Cut from the Edit menu.
•Right-click the track header and choose Cut Track from the shortcut menu.
•Press .
Tracks that are copied or cut to the clipboard can be pasted back into the current project or into a different
project an unlimited number of times. This is a useful way to share tracks between different compositions.
You can paste a track in one of the following ways:
•Click the Paste button ( ) on the toolbar.
•Choose Paste from the Edit menu.
•Right-click the track view and choose Paste Track from the shortcut menu.
•Press .
Adjusting the mix
Use the multipurpose slider to adjust the mix of a specific track.
Delete
Ctrl +C
Ctrl +X
Ctrl +V
CHP. 3 GETTING STARTED
47
Click the slider label to choose what you want to adjust.
Once you have chosen what you want to adjust, drag the slider to adjust the level. You can hold or
to select multiple tracks and move the sliders together as a group.
Note:
When adjusting the mix of your tracks, remember to
look at the meters on the mixer. Because you are adding the
volumes of all the tracks together, it is easy to clip the audio
output. Make sure that the meters never display the red clip
indicator during playback.
Muting tracks
Each track has a Mute button (). Clicking this button shades the corresponding track (to indicate that it is
muted) and renders it inaudible during playback. Clicking the Mute button a second time returns the track to
its original level in the mix. Toggle-muting a track is an effective way of determining whether a track
contributes to the overall sound of a project.
You can also press to mute a track or group of tracks.
Tip:
Press and click the Mute button to mute only the
selected track (and restore any other muted tracks). If the
selected track is already muted, press and click the Mute
button to restore all tracks.
Function Description
Volume Controls how loud a track is in the mix. A value of 0 dB means that the track plays with no boost or cut from
ACID. Dragging the fader to the left cuts the volume; dragging to the right boosts the volume.
Pan Controls the position of a track in the stereo field. Dragging the slider to the left places the track in the left
speaker more than the right, while dragging the slider to the right places the track in the right speaker.
Because ACID uses true stereo panning, you can introduce clipping when panning a track to the left or right.
Unlike a left/right balance control—which simply decreases the volume of one channel—ACID’s default panning
mode actually adds the audio from one channel to the other. When panning a track, adjust the track volume
accordingly.
You can choose among five panning types to determine how ACID pans a track.
For more information, see
Choosing stereo pan types on page 103
.
FX Controls the level of the track sent to each of the assignable effect chains that you have created. Dragging the
fader to the left cuts the volume; dragging to the right boosts the volume.
Bus Controls the level of the track sent to each of the additional busses that you have created for your project.
Dragging the fader to the left cuts the volume; dragging the fader to the right boosts the volume.
Ctrl Shift
Z
Ctrl
Ctrl
48
GETTING STARTED CHP. 3
Soloing tracks
Located next to the Mute button, the Solo button ( ) allows you isolate tracks in a project during playback.
When you click this button during playback, the corresponding track remains audible and all other tracks are
muted. Clicking the Solo button a second time returns all tracks to their original levels in the mix. Toggle-
soloing a track is an effective method of configuring and previewing isolated track effects against how they
sound in the project.
You can also press to solo a track or group of tracks.
Tip:
Press and click the Solo button to solo only the
selected track (and restore any other soloed tracks). If the
selected track is already soloed, press and click the Solo
button to restore all tracks.
Working with groups of tracks
Select a group of tracks by holding the key while you click the track header of the desired tracks. Now
you can adjust the volume, panning, track color, and other track attributes simultaneously.
Using undo and redo
ACID provides unlimited undo and redo capabilities. ACID adds each edit you perform in the project to an
undo history, which allows you to quickly restore the project to any of its previous states. In addition,
undoing an edit automatically places it in the project’s redo history where it can be quickly re-performed.
However, any new edit performed on the project overwrites the redo history.
Note:
The undo and redo histories are cleared when you
close the project or exit ACID.
Using undo
To undo an edit, click the Undo button ( ) on the toolbar or press . Edits are undone in the reverse
order they were performed.
Tip:
You can also undo the most recent edit by choosing
Undo from the Edit menu.
Undoing a series of edits
Clicking the down arrow next to the Undo button ( ) displays the project’s undo history. The history
displays as a drop-down list with the most recent edit located at the top. Undoing an edit in the list requires
all subsequent edits to be undone as well.
1.
Click the arrow to the right of the Undo button ( ). The undo history appears.
2.
Locate the edit to be undone. Notice that all subsequent edits are automatically selected and the total
number of edits to be undone is indicated at the bottom of the drop-down list.
3.
Click the edit to be undone. The project is restored to the state it was in prior to the selected edit.
X
Ctrl
Ctrl
Ctrl
Ctrl +Z
CHP. 3 GETTING STARTED
49
Undoing all edits
Choosing Undo All from the Edit menu undoes all project edits and automatically adds them to the redo
history.
Using redo
To redo an edit, click the Redo button ( ) on the toolbar or press . Edits are re-performed in
the reverse order they were undone.
Tip:
You can also redo the most recent undone edit by
choosing Redo from the Edit menu.
Redoing a series of edits
Clicking the down arrow next to the Redo button ( ) displays the project’s redo history. The history
displays as a drop-down list with the most recently undone edit located at the top. Redoing an edit in the list
requires all subsequently undone edits to be re-performed as well.
1.
Click the arrow to the right of the Redo button ( ). The redo history appears.
2.
Locate the edit to be redone. Notice that all subsequently undone edits are automatically selected and the
total number of edits to be redone is indicated at the bottom of the drop-down list.
3.
Click the edit to be redone. The project is restored to the state it was in prior to the selected undone edit.
Tip:
Clicking the desktop outside the drop-down list cancels
the redo operation.
Clearing the undo history
ACID allows you to clear the undo and redo histories without closing the project or exiting the application.
After the histories are cleared, ACID creates new ones as you continue building the project.
1.
From the Edit menu, choose Clear Undo History. A confirmation dialog appears, alerting you that this
action permanently deletes the current edit histories.
2.
Click Ye s to clear the edit histories or No to retain the current edit histories.
Playing the project
ACID provides several methods of playing your projects.
Using the transport bar
All buttons required to play your project are located on ACID’s transport bar. The transport bar should look
somewhat familiar to you, as it contains buttons found on most home CD and cassette players. For more
information, see Transport bar on page 17.
Ctrl +Shift+Z
50
GETTING STARTED CHP. 3
Using playback options
As you build a project, you will likely have different playback needs. For example, you may want to hear the
project in its entirety when checking the final mix, but not when you are working on the ending. Because of
this, ACID offers three playback options:
•Playing the entire project.
•Playing from the cursor position.
•Playing in looped playback.
Playing the entire project
To begin playback from the beginning of the project, click the transport bar’s Play From Start button ( ) or
press . To stop playback, click the transport bar’s Stop button ( ) or press .
Playing from the cursor position
To begin playback from the current cursor position, click the transport bar’s Play button( ) or press .
To stop playback, click the transport bar’s Stop button ( ) or press .
Playing in looped playback
You can also limit playback to a specific loop region on the track view. This playback method uses the
transport bar’s Loop Playback button ( ) and allows you to fine-tune mixes and effects while continually
listening to the selected area. For more information, see Transport bar on page 17.
1.
Drag the handles of the loop bar to create the desired loop region.
2.
Click the Loop Playback button ( ) to turn on looped playback.
3.
Click the transport bar’s Play button ( ) or press . ACID begins playback of the selected area. To
stop playback, click the transport bar’s Stop button ( ) or press .
Using the Mixer window
The Mixer window is a dockable window with a default location in the lower-right corner of the ACID
workspace. The Mixer window contains the following controls:
•A Preview fader, which allows you to adjust the loudness of media files previewed from the Explorer
window, Track Properties window, Beatmapper, or the Chopper. Also, the Preview fader’s volume
determines the volume of new tracks added to the project, unless you have set a default track volume
level. For more information, see Setting default track properties on page 178. This allows you to set up a quick
mix while you are adding media to your project.
•A Master bus fader, which controls the overall volume.
•Faders for up to 26 project busses when added to the project.
•Faders for up to 32 assignable effect chains when added to the project.
•Faders for up to 32 soft synth controls when added to the project.
The function of the bus, assignable effect, and soft synth controls are beyond the scope of this chapter. For
more information, see Using the Mixer on page 111.
Shift +Space Space
Space
Space
Handle Loop bar
Space
Space
CHP. 3 GETTING STARTED
51
Viewing the Mixer window
The Mixer window appears by default when you start ACID, but you can hide it if necessary. To view or hide
the Mixer window, choose Mixer from the View menu or press . A check mark appears adjacent to
the command to indicate when the window is displayed.
Using the mixer toolbar
The Mixer window toolbar contains four buttons: Project Audio Properties, Insert FX, Insert Bus, and Insert Soft
Synth.
Renaming mixer controls
Double-clicking a mixer control name allows you to rename the control. Press to save the change.
Using the mixer’s faders
Adjusting the Preview fader
Drag the fader up or down to adjust the preview volume.
Hiding the Preview fader
Once you have added all desired media files to a project, you may want to hide the Preview fader to make
room for additional busses, assignable effects, and soft synth controls. To hide the Preview fader, right-click
within the Mixer window and choose Show Preview Fader from the shortcut menu. The fader remains
hidden until you choose Show Preview Fader from the shortcut menu again.
Button Description
Displays the Project Properties dialog.
Adds an assignable effect chain to your project. The Plug-In Chooser
dialog appears so that you can create a plug-in chain.
For more
information, see Using assignable effects on page 113
.
Adds another bus to your project. The Audio tab in the Project
Properties dialog updates to reflect the new number of busses.
For more
information, see Using busses on page 111
.
Adds a soft synth control to your project. You can assign MIDI tracks or
external MIDI input devices to the soft synth control and assign the soft
synth control to a DLS set or VSTi plug-in.
For more information, see
Using soft synth controls on page 115
.
Alt +3
Enter
Enter a new
name for the
mixer control
52
GETTING STARTED CHP. 3
Adjusting split faders in the mixer
Split faders allow you to adjust the levels of the left and right channels independently. To move the faders
individually, drag the fader for the desired channel and release the mouse when it is in the correct position.
However, you can adjust both channels simultaneously by doing either of the following:
•Drag in the middle of the fader while making your adjustment.
•Click the Lock Fader Channels button( ) before adjusting the fader.
You can also change the fader level by double-clicking:
•Double-click the fader to reset it to 0.0 dB.
•If you have set each channel differently, double-click either channel to match the remaining channel to
its level.
Changing meter resolution
ACID allows you select the meter resolution. This is useful when building a project from several media
source pools that have varying volume levels. To change the resolution, right-click a meter and choose the
desired resolution from the shortcut menu.
Note:
Changing the meter resolution of one fader
automatically changes all other meters in the mixer to match
the selected resolution.
Adjusting for clipping
The volume of certain media files may cause a meter to clip. Clipping results in a distorted audio signal and
displays in a red indicator at the top of the meter. If the meter clips, lower the volume and click the red clip
indicator to reset the meter. Continue adjusting the fader and resetting the meter until you eliminate the
clipping.
Tip:
You can also reset a meter by right-clicking it and
choosing Reset Clip from the shortcut menu.
Saving, rendering, and delivering projects
Though ACID provides you with the tools to quickly build impressive musical projects, you may find yourself
building elaborate projects over a period of weeks or even months. While you are working on a project, you
should save it in ACID’s native format, the ACID project file (.acd).
Important:
If you save a project created in an earlier
version of ACID in ACID 4.0, it will be unusable in earlier
versions of ACID. Use the Save As dialog to save the project
with a new name after editing it in ACID 4.0.
CHP. 3 GETTING STARTED
53
When you are finished building a project, ACID allows you to render projects in a variety of formats. You
should determine the project’s final format (or formats) based on how you will deliver the media. For
example, you would render your project to a streaming media format if you plan to publish it to the Internet.
Note:
Be aware that projects containing MIDI files that are
routed to external MIDI ports must be rerouted to internal
DLS sets or VST instruments (VSTi) to be included in the
rendered mix. For more information, see Rendering projects
with MIDI tracks on page 150.
Saving projects
An ACID project file (.acd) is the default file format for saving a new project and should be used for saving
unfinished projects. There are two ACID project file types.
1.
To save a file, display the Save As dialog using any of the following options:
•Click the Save button ( ) on the toolbar.
•From the Edit menu, choose Save.
•Press .
2.
From the Save in drop-down list, choose the drive and directory where the file will be saved.
3.
Enter a name for the project in the File name box.
4.
From the Save as type drop-down list, choose the desired ACID project file type.
5.
If you want ACID to save a copy of each of the project’s media files to the same location as your project
file, select the Copy all media with project check box. This is available when saving as an ACID project file.
6.
Click Save. ACID saves the project.
Once the project is saved, you can use the Save As command
from the File menu to create a copy of the project with a new
name or save to a different ACID project file format.
Format Extension Description
ACID Project File .acd Contains all information regarding the project including
track layout, envelope settings, and effects parameters.
However, this type of file does not contain actual audio,
only references to the audio files.
ACID Project with
Embedded Media
.acd-zip Contains all information regarding the project including
track layout, envelope settings, and effects parameters. In
addition, all audio files used in the project are embedded
into the project file.
If you save a project in .acd-zip format, the project file and
all media files are copied to a temporary files folder. If you
continue to work on your project after saving the .acd-zip
file, your changes are saved to the files in this temporary
folder.
You can customize the location of the temporary files
folder.
For more information, see Using the General tab
on page 179
.
Ctrl +S
54
GETTING STARTED CHP. 3
Rendering projects
Rendering refers to the process of converting the ACID project into a file that is formatted for a specific
playback method. Possible playback methods include media player applications, Internet streaming media,
CD-ROM, and CD audio. When an ACID project is rendered, it is not overwritten, deleted, or altered and
you are able to return to the original project to make changes and re-render.
1.
From the File menu, choose Render As. The Render
As dialog appears.
2.
From the Save in drop-down list, choose the drive and
folder where the file will be saved.
3.
Enter a new name for the project in the File name box.
4.
From the Save as type drop-down list, choose the
desired file format.
5.
If the selected file type supports it, you can choose an
encoding template from the Te m p l a t e drop-down list,
or click Custom to create a new template. For more
information, see Creating custom rendering settings on
page 55.
6.
Select or clear the following check boxes as needed:
•Select the Render loop region only check box if you
want to save only the portion of the project that is
contained within the loop region. The loop region
does not need to be active for this option to work.
•If the selected file type supports it, you can select the Save project markers with media file check box to
include markers and regions in the rendered media file.
•Select the Save each track as a separate file check box if you want to render each track in the project to its
own file. The File name box changes to Folder, which displays the name of the folder in the Save in box.
•Stretch video to fill output frame (do not letterbox): Selecting this check box stretches the source video frame
if the destination frame size differs. When this check box is cleared, ACID uses letterboxing or
pillarboxing to keep the frame aspect correct.
•Fast video resizing: Selecting this check box speeds the process of saving video. When this check box is
cleared, the time required to save the file can increase dramatically. Clear this check box only when you
have critical material where nothing but the highest quality video rendering will do.
7.
Click Save. A progress dialog appears.
When rendering is complete, you can choose one of the following options:
•Click Open to start the associated media player and play the newly rendered file.
•Click Open Folder to open Windows Explorer and display the location of the newly rendered file.
•Click Close to close the progress dialog and return to the ACID window.
CHP. 3 GETTING STARTED
55
Supported formats for rendering
The following table briefly describes the file formats available for rendering a project.
Note:
Some plug-ins, such as MP3, may require
registration.
Creating custom rendering settings
The Custom Settings dialog appears when you click Custom in the Save As dialog. You can use the Custom
Settings dialog to create custom encoding templates for many of the file formats available in ACID.
1.
From the File menu, choose Render As. The Render As dialog appears.
2.
Choose your preferred file format from the Save as type drop-down list. If the format allows you to create
custom settings, the Custom button becomes active.
3.
Click Custom. The Custom Settings dialog appears.
4.
Make the appropriate setting changes for the chosen file format. For help on individual settings, click the
What’sThis? Help button ( ) and click a setting.
Tip:
To save the custom settings for future use, enter a name
for the template in the Te m p l a te box and click the Save
Te mp la t e button ( ).
5.
Click OK. The Custom Settings dialog closes.
Format Extension Description
AIFF File .aif The standard audio file format for audio used on Macintosh
computers.
MPEG-1 and MPEG-2 .mpg MPEG files are a format used when burning audio and video to a
Video CD, Super Video CD, or DVD. ACID supports MPEG-1 and
MPEG-2 file creation through the use of the MainConcept MPEG
plug-in.
MPEG-1 Layer 3 .mp3 A highly compressed format used for portable digital players and
Internet sharing of media. ACID provides 20 free MP3 encodes.
After you have used the free encodes, you must register the
plug-in to continue rendering MP3s.
Ogg Vorbis .ogg A patent-free audio encoding and streaming technology.
QuickTime .mov QuickTime for Microsoft Windows.
RealMedia .rm The RealNetworks standard for streaming media via the Web. This
option renders both audio and video into one file.
Sonic Foundry Perfect
Clarity Audio
.pca A Sonic Foundry proprietary lossless audio compression format.
Sonic Foundry Wave64 .w64 A Sonic Foundry proprietary wave format that does not have a
restricted file size (unlike Windows standard WAV format which is
limited to ~2GB).
Video for Windows .avi The standard video file format used on Windows-based
computers.
Wave .wav The standard audio file format used on Windows-based
computers.
Windows Media Audio .wma The Microsoft audio format used to create files for streaming or
downloading via the Web.
Windows Media Video .wmv The Microsoft audio and video format used to create files for
streaming or downloading via the Web.
56
GETTING STARTED CHP. 3
Publishing to the Internet
When your project is finished, you have the option of publishing it to the Internet. The most common place
to publish your project is ACIDplanet.com, a virtual community of ACID users. ACIDplanet.com allows
you to do the following:
•Share your music.
•Listen to projects built by other ACID enthusiasts.
•Download free loops.
•Enter remix contests co-sponsored by Sonic Foundry and major record labels.
Publishing your project to the Internet involves two distinct procedures: creating a personal account and
uploading the project.
Creating a personal account
ACID allows you to create accounts at Web sites where you can publish your song files. Each Web site that
offers publishing directly through ACID will guide you through its own account creation process. If you
haven’t created an account and you attempt to publish a song, you will be directed to complete the Publish
Setup utility.
1.
From the File menu, choose Publish Setup.
2.
Follow the on-screen instructions to set up your account.
At any time, you can go back and create another account at a different Web site. The Web site you are
currently logged into in the Publish Setup utility is where ACID publishes your song when you choose
Publish from the File menu.
Uploading a project
Publishing a project file copies your media to the Web so you can share it with other Web users. The
following procedure assumes you already have an account set up with a publish provider. If not, you will first
be redirected to set up an account. After successfully creating an account, you will be directed back to the
Publish feature.
1.
From the File menu, choose Publish. The Publish dialog appears.
2.
Select the appropriate radio button to specify whether the song to be published is the current ACID song
or a different song.
•To publish your current ACID song, choose a streaming format and bit rate.
•To publish a different song, enter the path to the song or click Browse to locate the file. This song must
already be in a streaming format.
3.
Click Next. If you are publishing the current ACID song, ACID renders it in the format and bit rate you
specified. A window appears from the publish provider with directions for completing the publishing
process.
4.
Follow the instructions provided by the publish provider. ACID begins uploading the file to the provider.
A progress dialog informs you when the upload is finished.
5.
Click OK. The publish provider provides a link to the song on their Web site; however, this may vary
depending on provider.
CHP. 3 GETTING STARTED
57
Writing to CD
ACID allows you to burn your projects to CD using supported CD-R/CD-RW drives. ACID renders your
project so it can be played on consumer CD players; however, the disc must be closed before it can be played
in a CD player.
Note:
ACID writes the entire project length to a CD track.
If your project has events on muted tracks that extend beyond
the end of the audible material, the muted events burn as
silence at the end of your CD track. To burn just a portion of
a project, create a loop region and select the Burn loop region
only check box.
1.
Insert a blank CD in a supported CD-R/CD-RW drive.
2.
From the Tool s menu, choose Burn Track-at-Once Audio CD.
Notice that the Burn Track-at-Once Audio CD dialog indicates the amount of time that the current
project will fill on the CD as well as the total amount of time remaining on the CD. If the Time needed for
audio value exceeds the Time available on disc value, ACID does not allow you to write the track to the CD.
Note:
If there is no CD in the CD-R/CD-RW drive, only
the Cancel button is available in this dialog.
3.
Choose a setting from the Action drop-down list:
•Choose Burn audio to begin recording audio to your CD when you click Start. You must close the disc
before it can be played in an audio CD player.
•Choose Test, then burn audio to test whether your files can be written to the CD without encountering
buffer underruns. Recording begins after the test if it is successful.
•Choose Test only to test whether your files can be written to the CD without encountering buffer
underruns. No audio is recorded to the CD.
•Choose Close disc to close your disc without adding any audio when you click Start. Closing a disc allows
your files to be played on an audio CD player. You cannot add tracks to a CD once it has been closed.
•Choose Erase RW disc to erase a rewritable CD when you click Start.
4.
Select your burning options:
•Select the Erase RW disc before burning check box to erase a rewritable CD before you begin burning.
•Select the Close disc when done burning check box to close the CD after burning. Closing a disc allows
your files to be played on an audio CD player. You cannot add tracks to a CD once it has been closed.
•Select the Eject disc when done check box to eject the CD automatically when burning is complete.
•Select the Burn loop region only check box to burn only the selected loop region. Clear the check box to
burn the entire project.
5.
From the Drive drop-down list, choose the drive for burning CDs.
6.
From the Speed drop-down list, choose the speed at which you want to burn. Choosing Max uses your
drive’s fastest possible speed; decrease the setting if you have difficulty burning because of buffer
underruns.
7.
Click Start.
Important:
Once ACID begins writing to the CD,
cancelling the write operation renders the CD unusable.
58
GETTING STARTED CHP. 3
4
CHP. 4 EDITING EVENTS
CHAPTER
59
Editing Events
In this chapter, you’ll learn about basic event editing techniques such as cutting, copying, pasting, trimming,
splitting, and joining events. You’ll also learn how to use ripple editing to expand the possibilities of timeline
editing. Finally, you’ll take a look at advanced editing techniques such as slipping and sliding events,
changing event properties, and adding event envelopes.
Note:
For the basic event editing topics in this chapter, make
sure that ripple editing is turned off. Verify that the Ripple
Edits command in the Options menu is not selected. For
more information, see Ripple editing on page 64.
Copying events
Copying an event, a time selection, or event within a time selection places an exact copy of the selected
event(s) on the clipboard, but leaves the track view unchanged. Events copied to the clipboard can be
pasted in the project an unlimited number of times. In addition, clipboard content remains on the clipboard
until replaced by new content.
1.
Select the event data you want to copy or make a time selection. For more information, see Making
selections on page 42.
2.
Copy the event data using any of the following methods:
•Click the Copy button ( ) on the toolbar.
•Choose Copy from the Edit menu.
•Right-click the selection and choose Copy from the shortcut menu.
•Press .
Pasting events
The clipboard’s contents can be pasted in a project an unlimited number of times. However, an event is
always pasted in the track it was copied/cut from. In addition, pasting the contents of the clipboard over an
existing event results in the pasted event overlapping the existing event. To avoid pasting over existing
events, you have two options:
•Use the Paste Insert command. For more information, see Using Paste Insert on page 60.
•Turn on ripple editing. For more information, see Ripple editing on page 64.
Ctrl +C
4
60
EDITING EVENTS CHP. 4
When events are cut/copied to the clipboard and subsequently pasted into a project, ACID maintains and
pastes the time data inherent in the cut/copied events. For example, if you select two events on the same
track that are separated by five seconds of silence, copying and pasting these events results in the five
seconds of silence also being pasted into the project.
Taking this concept a step further, if you select discontinuous events from several tracks, copying and pasting
these events results in any selected time data being pasted into the project as well. This maintains the
relative position of events in the project.
Using the Paste command
1.
Place the cursor at the desired position on the timeline.
2.
Paste the clipboard contents using any of the following methods:
•Click the Paste button ( ) on the toolbar.
•Choose Paste from the Edit menu.
•Right-click the track view and choose Paste from the shortcut menu.
•Press .
Using Paste Repeat
When building projects, you often need to paste the contents of the clipboard several times. Rather than
repeatedly pasting and moving the content, the Paste Repeat command allows you to specify the number of
times and at what interval the clipboard’s contents are pasted on the track view. This is a useful way of
quickly building a project that uses a repetitive riff or structure. For example, you can build the backing
tracks for a twelve-bar blues, copy them, and use Paste Repeat to paste several copies of it in the project.
1.
Click the Time Selection Tool button ( ).
2.
Drag the mouse in the track view to create a time selection spanning several events and copy it to the
clipboard.
3.
Click the Go To End button ( ) on the transport bar or press to send the cursor to the end of
the project.
4.
From the Edit menu, choose Paste Repeat or press . The Paste Repeat dialog appears.
5.
Enter a number in the Number of times to paste box.
6.
Select the End to end radio button and click OK. ACID pastes the events end to end the number of times
specified in step five, starting at the cursor position.
Using Paste Insert
To insert the contents of the ACID clipboard at the current cursor position and force existing events to
move in time to accommodate the pasted events, choose Paste Insert from the Edit menu.
If the cursor is in the middle of an event, the event splits at the cursor position where the new events are
pasted. For more information, see Splitting events on page 62.
Original events Pasted events
Original events Pasted events
Ctrl +V
Ctrl +End
Ctrl +B
CHP. 4 EDITING EVENTS
61
Cutting events
Cutting an event, a time selection, or an event within a time selection removes the audio data from the
track view and places it on the clipboard. Once data is placed on the clipboard, it can be pasted back into
the project an unlimited number of times. Clipboard content remains on the clipboard until it is replaced by
new data.
1.
Select the event data you want to cut or make a time selection. For more information, see Making selections
on page 42.
2.
Cut the event data using any of the following methods:
•Click the Cut button ( ) on the toolbar.
•Choose Cut from the Edit menu.
•Right-click the selection and choose Cut from the shortcut menu.
•Press .
All selected events are removed from the track view and placed on the clipboard.
Deleting events
Deleting an event, a time selection, or an event within a time selection removes the data from the track
view and discards it. Deleted events are not placed on the clipboard and do not replace or interfere with
current clipboard content. In addition, deleted events cannot be pasted back into a project.
Note:
Deleted data can only be replaced in a project using
the Undo command. For more information, see Using undo
on page 48.
1.
Select the event data you want to delete or make a time selection. For more information, see Making
selections on page 42.
2.
Delete the event data using any of the following methods:
•Choose Delete from the Edit menu.
•Right-click the selected event and choose Delete from the shortcut menu.
•Press .
All selected events are removed from the track view and discarded.
Trimming events
Whereas deleting allows you to select event data to be removed from the project, trimming allows you to
select the data that remains. Trimming is performed by creating a time selection or selecting an event within
a time selection and subsequently deleting all unselected data.
1.
Create a time selection or select specific events within a time selection. For more information, see Creating
time selections on page 44.
2.
Press to trim the data within the selection. All unselected event data is removed from the track
view and discarded.
Ctrl +X
Delete
Ctrl +T
62
EDITING EVENTS CHP. 4
Splitting events
Splitting is a quick way to create independently functioning events from a single one. You might consider
splitting an event if you want to adjust a small part of the track. For example, you may want to apply pitch
shift to a guitar track for a few measures and then return the track to its original setting.
Splitting occurs at the cursor position or at the in and out points of a time selection. When you split an
event, ACID creates a new ending point for the original event and creates a starting point for the newly
created event.
When you split an event, the newly created events abut each other. If Quick fade edges to prevent clicks is
selected in the Event Properties dialog, ACID adds fades at the split point. For more information, see Changing
event properties on page 68.
However, you may move either of the events, which creates a gap.
Splitting at the cursor position splits all selected events that the cursor crosses on all tracks.
1.
Select the event(s) that you want to split.
2.
Place the cursor where you want the split to occur or make a time selection.
3.
From the Edit menu, choose Split or press . The result of the split depends on how events were selected.
Splitting at the cursor position
Splitting at the cursor position splits all events that the cursor crosses on all tracks.
Events before splitting Events after splitting
Split position Two events
Two events
Split position
S
Cursor position
and split point
After the split, the three events
become six events
CHP. 4 EDITING EVENTS
63
Splitting an event
Selecting a single event prior to splitting prevents other events from being split at the cursor’s position.
Splitting multiple events
Selecting multiple events splits only the selected events at the cursor’s position. Be sure to set your cursor
position before selecting events. Attempting to set your cursor after selecting events causes you to lose your
event selection.
Splitting a time selection
Making a time selection allows you to split events at the time selection’s in and out points across all tracks.
Events before splitting Events after splitting
Events before splitting Events after splitting
Events before splitting Events after splitting
Cursor position
and split point
Event to
be split
Only the selected
event splits
at the cursor
position
Cursor position
and split point
Events to
be split
Only the selected
events split
at the cursor
position
In point Out point
Loop bar
Split point Split point
Loop bar
64
EDITING EVENTS CHP. 4
Splitting events within a time selection
When selecting events within a time selection, only the selected events in the time range split at the in and
out points.
Joining events
You may join events on ACID tracks that have been segmented along the timeline. Joining events is an
efficient way to redraw an event and remove any splits or silent regions between events.
You would want to join events if you decided that the event should play uninterrupted over the specified
time range.
1.
Select the events or range of events that you want to join. For more information, see Selecting multiple events
on page 42.
2.
From the Edit menu, choose Join or press . The selected events are joined.
Ripple editing
ACID includes a ripple editing feature. This feature is a timeline-based procedure that allows you to cut,
delete, and paste events or portions of events within a time selection and simultaneously adjust the position
of all later events on a selected track. The existing events’ timeline position adjusts by the total amount of
the time selection that is being cut, deleted or pasted from the clipboard.
You may turn on ripple editing mode by choosing Ripple Edits from the Options menu or pressing .
Note:
Ripple editing is only available when a time selection is
present.
Events before splitting Events after splitting
In point Out point
Selection bar
Event to be
split at the time
selection’s in and
out points
Split point Split point
Selection bar
Only the selected
event splits at
the in and out
points
J
Select all the events that you want to join.
You can also select the first and last events
you want to join, creating an event selection range.
After you join the events, a single event appears.
Joining events is similar to dragging the
edge of an existing event
Ctrl +L
CHP. 4 EDITING EVENTS
65
Cutting events in ripple editing mode
Cutting events or portions of events removes them and their time information from their respective tracks.
This information is placed on the clipboard, from which you may paste the information back into your
project.
1.
From the Options menu, choose Ripple Edits to enter ripple editing mode.
2.
Click the event to be cut or make a time selection.
To cut multiple events, use the key, the key, or the Selection ( ) tool to select the events. For
more information, see Selecting multiple events on page 42.
3.
Click the Cut button ( ) on the toolbar to cut the event(s) to the clipboard.
The cut events and their time information are removed from the selected track(s) and placed on the
clipboard. Existing events in the selected track(s) move forward to occupy the space created by the cut.
Cutting time selections in ripple editing mode
Events within the time selection are reproduced and placed on the clipboard. Also, the time information is
placed on the clipboard. Existing events occurring after the time selection move forward in the project by
the length of the time selection.
Cutting time and event selections in ripple editing mode
Events and portions of events within the time selection are reproduced and placed on the clipboard. Also,
the time information is placed on the clipboard. Existing events occurring later than the time selection
move forward by the length of the time selection. Only tracks containing selected events are affected by the
ripple edit.
Events before cut Clipboard contents Events after cut
Events before cut Clipboard contents Events after cut
Ctrl Shift
Existing events
adjust to occur
sooner in the
project
Existing events on
the top track adjust
to occur sooner in the
project
66
EDITING EVENTS CHP. 4
Deleting events in ripple editing mode
Deleting events or portions of events removes them and their time information from their respective tracks.
However, this information is not placed on the clipboard. Existing events move forward when you delete
material from a selected track.
1.
From the Options menu, choose Ripple Edits to enter ripple editing mode.
2.
Click the event to be deleted or make a time selection.
To cut multiple events, use the key, the key, or the Selection ( ) tool to select the events. For
more information, see Selecting multiple events on page 42.
3.
Press to delete the event(s).
Deleting time selections in ripple editing mode
Events within the time selection and their time information are removed from the project. Existing events
occurring after the time selection move forward in the project by the length of the time selection. When
information is deleted, it is not placed on the clipboard.
Deleting time and event selections in ripple editing mode
Events within the time selection and their time information are removed from the project. Existing events
occurring after the time selection move forward in the project by the length of the time selection. When
information is deleted, it is not placed on the clipboard.
Pasting events in ripple editing mode
Once information is copied to the clipboard, you may choose a variety of ways to paste the clipboard items
into tracks. For more information, see Pasting events on page 59. The following procedures explain pasting
information in ripple editing mode.
Note:
Events are always pasted into their own tracks at the
cursor position.
1.
From the Options menu, choose Ripple Edits to enter ripple editing mode.
2.
Move the cursor to the desired timeline location.
3.
Place the cursor within the track where you want to paste the event.
4.
Click the Paste button ( ) on the toolbar to paste the event into the track.
Events before delete Clipboard contents Events after delete
Deleted information is not
placed on the clipboard.
Events before delete Clipboard contents Events after delete
Deleted information is not
placed on the clipboard.
Ctrl Shift
Delete
Existing events
adjust to occur
sooner in the
project
Existing events on the
top track adjust to
occur sooner in the
project
CHP. 4 EDITING EVENTS
67
Clipboard information is pasted at the cursor’s position on the track. Existing events or portions of events
after the cursor adjust to occur later in the project. The amount of adjustment is based on the total length of
the information being pasted.
Pasting single track information in ripple editing mode
The information on the clipboard determines how many tracks are affected when you paste. If you have
copied or cut information from one track, only the selected track is affected by the pasted event and time
information.
Pasting multitrack information in ripple editing mode
ACID can paste multiple events as easily as single events.
Note:
Pasting in ripple editing mode ripples only the events
on the tracks that receive the clipboard contents. If you want
to ripple all tracks at the paste position, use the Paste Insert
command from the Edit menu.
Slipping and sliding events
To help you picture what happens when you slip and slide events, think of an event as a window to a media
file. The window can display the entire media file or a small section. When the window displays only a
portion of the media file, you can move either the window or the underlying media to adjust the media
played by an event:
•When you slip an event, your event maintains its place on the timeline, but the media file moves in the
direction you drag.
•When you slide an event, the media file maintains its place on the timeline, but the event moves in the
direction you drag.
Clipboard contents Events before paste Events after paste
Clipboard contents Events before paste Events after paste
Paste
position
Newly pasted
event
Existing event
adjusts to move
later in the project.
These events will be
pasted
Paste
position
Existing events on the tracks adjust
later in the project
Newly pasted events
68
EDITING EVENTS CHP. 4
Shifting the contents of (slipping) events
Hold while dragging an event. The slip cursor appears ( ).
As you drag the event, the contents of the event shift, but the event does not move. You can use this
technique when you want to maintain an event’s length and position but want the to event play a different
section of the source media file.
For creative ways to use event slipping, see Duplicating with offset on page 188.
Slip-trimming events
Hold while dragging the right or left edge of an event. The slip-trim cursor appears ( ).
As you drag the event edge, the media moves with the event edge.
Sliding events
Hold while dragging an event. The slide cursor appears ( ).
As you drag, the relative position of the media remains fixed on the track, and the event position changes.
You can use this technique when you want to maintain an event’s length but want the event to play a
different section of the source media file at a different point in your project.
Changing event properties
To access event properties, right-click the event and choose Properties
from the shortcut menu, or simply double-click the event.
These properties are saved in the project but are not saved into the file
when you save changes to a track in the Track Properties window. For
more information, see Saving file properties on page 109.
Original loop event
Slipping the event two measures to the right
Slip-trimming the event two measures to the right
Sliding the event two measures to the right
Alt
Alt
Ctrl +Alt
CHP. 4 EDITING EVENTS
69
The following table describes each of the settings in the Event Properties dialog.
Using event envelopes
ACID enables you to use envelopes on individual events. Envelopes give you the ability to control each
event’s fade-in, fade-out, and overall volume. Envelopes are useful for transitional effects between events by
subtly fading out one event’s volume while another fades in.
These envelopes are different than track envelopes because they affect only the event whereas track
envelopes can affect multiple events on the track. For more information, see Using track envelopes on page 97.
The event’s volume level and fade curves are represented by a line on the event.
Setting an event’s volume envelope
You can control an event’s overall volume by setting an envelope at the desired decibel (dB) level.
1.
Place the mouse pointer at the top of the event. The envelope cursor ( ) appears.
2.
Drag the volume line to the desired level. As you drag the volume line, ACID displays the event’s decibel
level.
3.
Release the mouse to set the event’s dB level.
After you set the event volume level, you may change it later by dragging the envelope line.
Item Description
Start offset The Start offset for an event specifies a playback starting position that is
different than the beginning of the file. This is especially useful for loops; you
can change the feel of a loop by simply starting on beat two rather than beat
one.
Pitch shift The Pitch shift value specifies a pitch shift for the selected event. Event-based
pitch shift is calculated after the project key and any pitch shift assigned to a
track.
For more information, see Changing tempo, time signature, and key on
page 79
.
Speed The Speed setting allows you to change the playback speed of an event on a
one-shot track. Changing the speed also changes the pitch.
Quick fade edges to
prevent clicks
When you add an offset to an event so that it does not end on a loop point, you
can introduce an audible click at the edges of the event. Select the Quick fade
edges to prevent clicks check box, and ACID performs a quick fade-in or
fade-out on the event edges.
To adjust a quick fade, zoom into the event and hover over the upper-left or
upper-right corner of an event until the cursor is displayed as . Drag the
edge of the fade to adjust its duration.
For more information, see Setting an
event’s fade-in and -out envelope curve on page 70
.
70
EDITING EVENTS CHP. 4
Setting an event’s fade-in and -out envelope curve
You can control an event’s envelope fade-in and -out characteristics by adjusting the event’s envelope
handles. These handles allow you to control the length and dB level of fade-ins and fade-outs. Also, you can
change the type of curve that the event uses to control the volume’s fade characteristics.
1.
Place the mouse pointer on the upper corner of the event. The envelope cursor ( ) appears.
2.
Drag the envelope cursor and position the envelope curve. As you drag the cursor, ACID displays the
following information:
•The event decibel level.
•The length (in measures.beats.ticks) of the fade-in or fade-out.
3.
Release the mouse to set the fade-in or fade-out characteristics.
Changing the event’s fade curve type
You can set an event’s fade curves (fast, linear, slow, smooth, or sharp) that are used to raise or lower the
volume over time. Right-click the fade region, select Fade Type from the shortcut menu, and choose the
appropriate fade curve from the submenu.
Creating crossfades between events
ACID allows you to quickly create crossfades between overlapping events painted on different tracks.
1.
Select two events. The events must overlap, but do not need to be on adjacent tracks.
2.
Press . The end of the first event fades out, and the second event fades in.
For creative ways to use crossfades, see Creating DJ-style crossfades on page 194.
F
5
CHP. 5 WORKING IN THE TRACK VIEW
CHAPTER
71
Working in the
Track View
This chapter introduces you to several ACID features that increase your productivity, such as markers,
regions, and snapping options. You’ll also learn about the different ways to change a project’s tempo, key and
time signature. Finally, you’ll learn several options for adjusting the project timeline.
Using project markers and regions
ACID markers and regions identify areas of your project and provide navigational cues for quickly finding
those areas. After you insert markers and regions, you may adjust their position along the project’s timeline
and label them with meaningful names for your reference.
Working with standard markers
Markers are tools that can make creating music easier by identifying specific points along the project’s
timeline. They can be named, moved, and serve as snap and navigational points for the cursor and events.
When you place markers, ACID automatically numbers them in the order that you place them.
Placing markers
Markers are placed at the cursor position. You may place a marker in one of the following ways:
•From the Insert menu, choose Marker.
•Right-click the marker bar, choose Markers/Regions from the shortcut menu, and choose Insert Marker
from the submenu.
•Press . You may use this method to place a marker while the project is playing.
Marker type Description
Marker (standard) Markers identify specific reference points in your project. Points that you may
want to identify are introductions, bridges, refrains, choruses, or whatever
you choose.
Time marker Time markers are fixed to the time ruler and mark absolute time in your
project. They are very useful when scoring video.
Command marker Command markers indicate when an instruction or function occurs in a
streaming media file.
Regions Regions subdivide your project into time segments. Regions have in and out
points, which allow them to function as permanent time selections.
M
Marker barMarker
5
72
WORKING IN THE TRACK VIEW CHP. 5
Moving markers
1.
Place the mouse pointer on the marker to be moved. The hand cursor ( ) appears.
2.
Drag the marker to the desired position.
Naming markers
ACID allows you to name markers in your project. You may want to name markers based on parts of the
project. For example, you may want to identify choruses, refrains, bridges, or instrument solos as reference
points along the timeline.
1.
Place the mouse pointer on the marker to be named. The hand cursor ( ) appears.
2.
Right-click the marker and choose Rename from the shortcut menu. A box appears next to the marker.
3.
Type a marker name in the box and press to save the name.
Tip:
You can use the same steps to rename a marker.
Alternately, you can double-click the marker and enter a new
name.
Navigating to markers
While you are working on your project, you may have scrolled to a portion of the project where the cursor is
not visible. There are two ways to move the cursor directly to the selected marker:
•Right-click the marker and choose Go To from the shortcut menu.
•Click the marker once.
•Press the number key (not on the numeric keypad) corresponding to the marker number.
Tip:
You may also navigate from one marker to the next by
pressing +left/right arrow key.
Adjusting tempo to match cursor to marker
Position the cursor, right-click the marker tab, and choose Adjust tempo to match cursor to marker from the
shortcut menu. The project tempo changes so that the cursor position matches the selected marker.
Deleting markers
You may remove markers from the project at any time. Because markers are automatically numbered when
they are placed, ACID does not renumber the remaining markers when one is deleted. Rather, the remaining
markers retain their numbers. However, if you add markers later, ACID begins numbering to fill the
sequence gap.
For example, if you have five markers in your project and delete markers three and four, the remaining
markers are listed as one, two and five. When you add markers again, ACID begins numbering the markers as
three and four.
1.
Place the mouse pointer on the marker to be deleted. The hand cursor ( ) appears.
2.
Right-click the marker and choose Delete from the shortcut menu. The marker is removed from the
project.
Enter
Ctrl
CHP. 5 WORKING IN THE TRACK VIEW
73
Working with time markers
Unlike standard markers, time markers are tied to absolute time within your project. They are added
differently than standard markers and appear on the time ruler at the bottom of the track view. Otherwise,
time markers can be manipulated just like other markers.
Placing time markers
Time markers are placed at the cursor position. You may place a time marker in one of the following ways:
•From the Insert menu, choose Time Marker.
•Press . You may use this method to place a time marker while the project is playing back.
Note:
ACID does not number time markers.
Adjusting tempo to match marker to cursor
Using this function with time markers is particularly useful when scoring video. For more information, see
Scoring video with ACID on page 156.
Position the cursor, right-click the marker tab, and choose Adjust tempo to match marker to cursor from the
shortcut menu. The project tempo changes so the time marker matches the cursor position.
You can also align the marker and cursor by holding while dragging the marker. For example, hold
while dragging a time marker to a location on the beat ruler. The project tempo adjusts so the time at the
marker occurs on a specific beat. For example, if you place a time marker at 10 seconds on the time ruler and
hold while dragging the marker to 5.1 on the beat ruler, ACID adjusts the project’s tempo so the first
beat of measure five occurs at ten seconds.
Working with command markers
Command markers add interactivity to a multimedia presentation streamed over the Internet. As your media
plays, any number of other actions can be programmed to execute. These commands are a part of the
Windows Media and RealMedia streaming formats. Most frequently, these actions add text or open a related
Web site. The specific commands available vary depending on the final format of your project.
Note:
Streaming media files can be played back from a hard
drive or CD-ROM, but in order to stream properly across the
Internet, the file must be on a streaming media server. Check
with your internet service provider for details and availability
of this service.
H
Time marker
Alt Alt
Alt
74
WORKING IN THE TRACK VIEW CHP. 5
Placing command markers
Command markers appear on the command ruler, which is above the marker bar.
1.
Position the cursor where you want to place the command marker.
2.
From the Insert menu, choose Command, or press .
3.
Complete the Command Properties dialog:
•From the Te m p l a t e drop-down list, choose a custom
template. For more information, see Saving command
properties as a custom template on page 74.
•From the Command drop-down list, choose the type of
command. For more information, see Defining streaming
media commands on page 75.
•Enter parameters in the Parameter box to define the
behavior of the command.
•Enter your own notes or comments in the Comment
box.
•Specify the timing of the command in the Position box. Command markers are automatically set to the
current cursor position unless you change this value.
4.
Click OK. The new command marker appears on the command bar.
After you create a command marker, you can move the marker by dragging it to a new location.
Editing command marker properties
Double-click any command marker to open the Command Properties dialog and edit its contents. You can
also right-click a command marker and choose Edit from the shortcut menu.
Saving command properties as a custom template
If you plan to use a command more than once, you can save command properties as a template. You can then
reuse the command properties by selecting the template from the Te m p la te drop-down list.
1.
Create a command and complete the Command Properties dialog.
2.
Click in the Te m p l a t e box and enter a name for the template.
3.
Click the Save Template button ( ).
Tip:
ACID saves your metadata command templates in the
cmdtemp.xml file in the ACID program folder. You can edit
this file directly to modify your templates.
Marker bar
Command ruler
URL command marker
C
CHP. 5 WORKING IN THE TRACK VIEW
75
Defining streaming media commands
In a streaming media file, command markers can be used to display headlines, show captions, link to Web
sites, or any other function you define.
ACID includes several command types that you may add to a streaming media file. Some command types are
exclusive to either the Windows Media (WMA or WMV) or the RealMedia (RM) file types.
Defining HotSpot commands
Hotspots are defined using the following parameter syntax:
HotSpotPlay MM:SS (LEFT, TOP, RIGHT, BOTTOM) "LABEL" FILENAME
HotSpotBrowse MM:SS (LEFT, TOP, RIGHT, BOTTOM) "LABEL" URL
HotSpotSeek MM:SS (LEFT, TOP, RIGHT, BOTTOM) "LABEL" MM:SS
The Parameter box for a typical HotSpotBrowse command for a hotspot rectangle that is 50 pixels wide by 20
pixels tall and lasts for 10 seconds would look like this:
HotSpotBrowse 00:10 (0, 0, 50, 20) "Sonic Foundry" http:\\www.sonicfoundry.com
All parameters are optional except the last. The hotspot defaults to the entire duration of the file and the
entire video frame if the duration and dimensions are not specified.
Adjusting tempo to match cursor to marker
Position the cursor, right-click the marker tab, and choose Adjust tempo to match cursor to marker from the
shortcut menu. The project tempo changes so that the cursor position matches the selected command
marker.
Deleting command markers
To delete a command marker, right-click the marker and choose Delete from the shortcut menu.
Command Player Type Description
URL Windows Media
and RealMedia
Indicates when an instruction is sent to the user’s Internet browser to change
the content being displayed. With this command, you enter the URL that
displays at a specific time during the rendered project’s playback.
TEXT Windows Media Displays text in the captioning area of the Windows Media Player located
below the video display area. You enter the text that displays during playback.
WMClosedCaption Windows Media Displays the entered text in the captioning window defined by an HTML
layout file.
WMTextBodyText Windows Media Displays the entered text in the text window defined by an HTML layout page.
WMTextHeadline Windows Media Displays the entered text in the headline window defined by an HTML layout
file.
Title Windows Media
and RealMedia
Displays the entered text on the player’s title bar.
Author Windows Media
and RealMedia
Displays the entered text (author’s name) when a user selects About this
Presentation from the RealPlayer’s shortcut menu or Properties from the
Windows Media shortcut menu.
Copyright Windows Media
and RealMedia
Displays the entered copyright information when a user selects About this
Presentation from the RealPlayer’s shortcut menu or Properties from the
Windows Media shortcut menu.
HotSpotPlay RealMedia Allows you to define an area in the RealPlayer video display that users can
click to jump to another RealMedia file.
HotSpotBrowse RealMedia Allows you to define an area in the RealPlayer video display that users can
click to jump to a Web page that you specify.
HotSpotSeek RealMedia Allows you to define an area in the RealPlayer video display that users can
click to jump to a point in the current RealMedia file.
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WORKING IN THE TRACK VIEW CHP. 5
Working with regions
Regions are useful tools that allow you to subdivide your project into time sections by designating in and out
points along the timeline. Regions can function as permanent time selections for playback and editing
purposes. Like markers, regions can serve as reference points and may be moved, named, and provide snap
points for the cursor and events.
When you place regions, ACID automatically numbers them in the order that you place them.
Placing and moving regions
Regions are placed at the start and end points of a loop region (time selection). You may place a region in
one of the following ways:
•From the Insert menu, choose Region.
•Right-click the marker bar, choose Markers/Regions from the shortcut menu, and choose Insert Region
from the submenu.
•Press .
After you place a region, you may change its position by dragging the region tag to the desired position.
Tip:
You can move a region without changing its size by
holding while dragging either region tag.
Naming regions
ACID allows you to name the placed regions in your project. You may want to name regions based on parts
of the project or to define the amount of time that the regions encompass. For example, you may want to
identify introductions, solos, or special time-related features in your project as reference points.
1.
Right-click the region’s start tag and choose Rename from the shortcut menu. A box appears next to the
tag.
2.
Type a region name and press to save the name.
R
Region start
Loop region
Region end
Alt
Enter
CHP. 5 WORKING IN THE TRACK VIEW
77
Navigating to regions
While you are working on your project, you may have scrolled to a portion of the project where the cursor is
not visible. You may click in the track view to move and view the cursor or you may use region tags to bring
the cursor into view.
To move the cursor to the selected region tag, right-click the region tag and choose Go To from the shortcut
menu.
Tip:
You may also navigate between regions in your project
by pressing +left/right arrow key or the number key (not
on the numeric keypad) corresponding to the region number.
Selecting regions
You may use the region’s start and end tags to make a time selection across all tracks in your project. The
information within the time selection can then be used for playback or editing.
To select a region, right-click a region tag and choose Select Region from the shortcut menu. The loop bar
appears between the region tags and the tracks are highlighted.
Deleting regions
You may remove regions from the project at any time. Because regions are automatically numbered when
they are placed, ACID does not renumber the existing regions when one is removed. Rather, the existing
regions retain their numbers. However, if you add regions later, ACID begins numbering to fill the sequence
gap that exists.
For example, if you have six regions in your project and delete regions four and five, the remaining regions
are listed as one, two, three and six. When you add regions again, ACID begins numbering the regions as
four and five.
To remove a region from a project, right-click the region tag marker and choose Delete from the shortcut
menu.
Ctrl
Loop bar
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WORKING IN THE TRACK VIEW CHP. 5
Using snapping
Snapping helps you to align events in your project with other items. ACID is preset to snap event edges to
the project’s grid lines as you drag an event along the track. If snapping is enabled and the Grid Only option is
turned off, the event’s edges automatically align to these designated snap points:
•Cursor position
•Grid lines
•Markers
•Regions start and end points
•Loop region (time selection) in and out points
You may turn on snapping for these elements in the project or limit snapping to grid lines.
Choosing snapping options
If the snap function is preventing you from placing an event precisely where you want it, you may turn
snapping off. Turning off snapping prevents events from automatically aligning to the cursor, grid lines,
markers, regions, and time selections.
The Options menu allows you to toggle snap functions. The button image next to the Enable command
indicates when snapping is turned on. The button image next to the Grid Only command indicates the type
of snapping in use.
Tip:
You can temporarily suspend snapping while dragging by
holding down the key.
Turning snapping on and off
You may turn snapping on and off in one of the following ways:
•Click the Enable Snapping button ( ) on the Toolbar.
•From the Options menu, choose Snapping, and choose Enable from the submenu.
•Press .
Snapping to grid lines
With snapping turned on, you may choose to snap only to grid lines. From the Options menu, choose
Snapping, and choose Grid Only from the submenu. The button image next to the command indicates that it
is active.
Snap point examples
Select to turn all snapping on/off
Select to toggle between snapping
to grid lines only and snapping to all
elements.
Shift
F8
CHP. 5 WORKING IN THE TRACK VIEW
79
Snapping to all elements
With snapping turned on, you may choose to snap to all elements. From the Options menu, choose
Snapping, and choose Grid Only from the submenu. The button image next to the Grid Only command
appears deselected when snapping to all elements.
Tip:
Press to toggle between grid only and all
elements.
Changing tempo, time signature, and key
You can set a tempo, time signature, and key for your ACID project. You can also make adjustments during
playback.
ACID allows you to add specific tempo, time signature, and key changes within a project using tempo/key/
time signature change markers. These markers appear on the marker bar above the track view. When the
cursor passes over one of these markers, the master project tempo, key, and/or time signature changes in real
time.
Changing project tempo
With ACID, you can change the tempo of a project without affecting the project’s key.
Changing tempo using the Project Tempo slider
Drag the Project Tempo slider at the bottom of the track list. Dragging the slider to the left slows the tempo,
while dragging it to the right speeds the tempo.
Tip:
Double-click the tempo value
next to the Project Tempo slider to
enter an exact value. Press
when you are finished.
As you drag the Project Te m p o slider, a colored bar appears under each track’s name to represent the amount
a track is being stretched to match the project tempo. The mark in the center of the bar represents the
original tempo of a file. When the bar appears to the right of the mark, the project tempo is faster than the
original file; when the bar appears to the left of the mark, the project tempo is slower than the original file.
The amount of change also displays as a percentage at the right end of the bar.
Ctrl +F8
Set the tempo, time signature, and key for the whole project... ...or change these elements dynamically in the timeline.
Project Tempo
slider
Project Key
Project Time Signature
Project Tempo
Enter
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WORKING IN THE TRACK VIEW CHP. 5
Changing project tempo to match file tempo
Each track’s shortcut menu contains the option Use Original Tempo. The original tempo of the file used on
the track appears to the right of this option in the shortcut menu. To change the project’s tempo to match
the original file tempo, simply choose Use Original Tempo from the shortcut menu.
Changing project time signature
Click the Project Time Signature control and select a time signature from the menu to adjust a project’s time
signature. Select Other from the menu to enter a custom time signature.
Changing project key
Click the Project Key control and select a key from the menu to adjust a project’s key.
This feature makes it possible to use media that are in different keys in the same project: each loop that has a
specified root note is transposed to the key indicated by the Project Key control.
For example, if three loops have root notes of A, B, and C, and your Project Key control is set to D, ACID
pitch-shifts the loops by five, three, and two semitones, respectively.
Note:
If the root note for a track is set to Don’t Transpose in
the Track Properties window, the track does not pitch shift
with the rest of the project.
Project tempo is slower
than file tempo.
Project tempo is faster
than file tempo.
As you drag the slider, a colored bar appears for each track.
Project Tempo slider
Project Key control
CHP. 5 WORKING IN THE TRACK VIEW
81
Working with tempo/key/time signature change markers
Tempo/key/time signature change markers allow you to make changes to the tempo, key, and/or time
signature at specified points in your project.
Note:
Time signature changes must occur on the first beat of
a measure.
Adding tempo/key/time signature change markers
1.
Position the cursor where you want the change to occur.
2.
From the Insert menu, choose Tempo/Key/Time Signature Change. The Tempo/Key/Time Signature
Change dialog appears.
3.
Select the check boxes for the types of changes you want to
occur at the cursor position.
•Key Change changes the key of all tracks until ACID
encounters another tempo/key/time signature change marker.
•Tempo Change changes the tempo of all tracks until ACID
encounters another tempo/key/time signature change marker.
•Time Signature Change changes the time signature of all tracks
until ACID encounters another tempo/key/time signature
change marker.
4.
Specify the desired change information and click OK
to close the dialog. A marker appears in the marker
bar at the cursor position that displays the change information.
Editing tempo/key/time signature change markers
There are several ways to edit the tempo/key/time signature change marker:
•Position the cursor on or after the marker and adjust the Project Tempo, Project Time Signature, or Project Key
controls. The marker’s text reflects the change.
•Right-click the marker, choose Edit from the shortcut menu, and enter the appropriate change in the
Tempo/Key/Time Signature Change dialog.
•Double-click the marker and enter the appropriate change in the Tempo/Key/Time Signature Change
dialog.
Adjusting tempo to match cursor to marker
Position the cursor, right-click the marker tab, and choose Adjust Tempo to Match Cursor to Marker from the
shortcut menu. The project tempo changes so that the cursor position matches the selected marker.
Deleting tempo/key/time signature change markers
To delete a marker, right-click the marker and choose Delete from the shortcut menu.
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WORKING IN THE TRACK VIEW CHP. 5
Changing a track’s key
You can change the key of an entire track without affecting the project’s key. For creative ways to use track key
changes, see Detuning paired tracks on page 187.
1.
Right-click the track and choose Properties from the shortcut menu. The Track Properties window
appears.
2.
On the General tab, enter the number of semitones by which to adjust the key in the Pitch Shift box or use
the spinner control. Use the minus (-) key for negative values.
3.
Close the Track Properties window. The pitch shift displays in the track’s icon.
Tip:
Another way to change the key of the track is to select
the track in the track list and press or on the numeric
keypad.
Changing an event’s key
You can change the key of an individual event without affecting the pitch of the track or project.
Right-click the event in the track view, choose Pitch Shift from the shortcut menu,
and choose Up Semitone or Down Semitone from the submenu. The pitch shifts one
semitone in the direction specified, and the amount of shift displays on the event
itself.
You can also change an event’s key using keyboard shortcuts. For more information, see Event commands on
page 20.
Adjusting time
ACID provides two commands for adjusting your project’s timeline: Insert Time and Fit to Time.
Inserting time
Use the Insert Time command to insert a specified amount of blank space into the project at the current
cursor position. This feature can be used to create space in the project for new events.
1.
Position the cursor where you want to insert time.
2.
From the Insert menu, choose Time. The Insert Time dialog appears.
3.
Enter the amount of time you want to insert and click
OK.
Note:
The Insert Time dialog uses the measures.beats.ticks
format used by the beat ruler.
+-
CHP. 5 WORKING IN THE TRACK VIEW
83
Fitting to time
The Fit to Time command allows you to adjust the project’s overall length to a specified amount of time.
Note:
The maximum and minimum length is limited to
reduce the possibility of creating audible artifacts through the
compression/expansion process.
1.
From the Edit menu, choose Fit to Time. The Fit to Time dialog appears with the current project length
displayed in the New length box.
2.
Enter the new project length in the New length box. The length is always entered in time format,
regardless of the format used on the time ruler.
3.
Click
OK. The dialog closes and ACID adjusts the tempo to alter the project’s length.
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WORKING IN THE TRACK VIEW CHP. 5
6
CHP. 6 USING THE CHOPPER
CHAPTER
85
Using the Chopper
The Chopper allows you to quickly create slice-and-dice effects. For creative ways to use the Chopper, see
Slicing and dicing in the Chopper on page 193.
Working in the Chopper window
Selecting a track automatically places it in the Chopper where it can be immediately manipulated and
inserted into the track view.
Viewing the Chopper
To display the Chopper, choose Chopper from the View menu or press .
Changing the Chopper grid
The Chopper’s grid uses the same increments available on the track view. To change the grid display, right-
click the waveform area of the Chopper, choose Grid Spacing from the shortcut menu, and choose the
desired display from the submenu.
Changing Chopper snapping options
The snapping behavior of the track view and Chopper are linked. To enable snapping in both components,
choose Snapping from the Options menu and choose Enable from the submenu, or press .
When snapping is turned on, you can choose between snapping only to the grid or snapping to all elements.
For more information, see Using snapping on page 78.
Toolbar
Beat ruler
Transport bar
Time ruler
Alt +2
F8
6
86
USING THE CHOPPER CHP. 6
Magnifying the Chopper
There are three ways of adjusting the magnification of the Chopper.
•Click the Zoom In Time () and Zoom Out Time ( ) buttons located in the lower-right corner of the
window.
•Click within the Chopper and use the mouse wheel.
•Quickly magnify a selection by right-clicking and choosing Zoom to Loop Region from the shortcut menu.
Previewing in the Chopper
The Chopper contains a dedicated transport bar that can be used to preview selections prior to inserting
them into the project.
Using Chopper toolbar and keyboard commands
In addition to the transport bar, the Chopper contains a toolbar that is designed to make creating selections
quick and easy. The following table briefly describes the toolbar buttons and the associated keyboard
commands.
Button Keyboard Function
or Inserts the Chopper selection in the track view at the current cursor
position.
(comma) Shifts the track view’s cursor position to the left by the length of the
increment arrow.
(period) Shifts the track view’s cursor position to the right by the length of the
increment arrow.
Links the length of the increment arrow with the length of the selection.
When toggled on, the length of the increment remains equal to the
length of the selection. When toggled off, you can configure the
increment independently of the Chopper selection.
(semicolon) Halves the length of the Chopper selection.
(apostrophe) Doubles the length of the Chopper selection.
or (comma) Shifts the Chopper selection to the left by the length of the selection.
or (period) Shifts the Chopper selection to the right by the length of the selection.
(comma) Shifts the selection left by the increment length.
(period) Shifts the selection right by the increment length.
(semicolon) Doubles the length of the increment arrow.
(apostrophe) Halves the length of the increment arrow.
Inserts a region.
Inserts a marker.
Marks the start point of a loop region.
Marks the end point of a loop region. Once the endpoint is established,
the loop region becomes highlighted.
/ A
Ctrl +,
Ctrl +.
N
;
‘’
< ,
> .
Ctrl +Shift+,
Ctrl +Shift+.
Ctrl +;
Ctrl +‘’
R
M
I
O
CHP. 6 USING THE CHOPPER
87
Inserting markers and regions in the Chopper
When working with events in the Chopper, you can drop markers and create regions just like in the track
view. For more information, see Using project markers and regions on page 71.
These markers and regions are saved with the project when it is saved. They can also be saved back to the
original media file by clicking the Save File button ( ) in the Track Properties window. For more
information, see Saving file properties on page 109.
Creating selections in the Chopper
After you place a file in the Chopper, you can use the toolbar, transport bar, and mouse (or their keyboard
equivalents) to create and preview selections within the file. When have made the selection you want, you
can insert the selection into the track view.
Placing files in the Chopper
To place a file in the Chopper, do any of the following:
•Select a track in the track list.
•Select an event.
•Right-click an event and choose Select in Chopper from the shortcut menu.
Note:
If you choose Select in Chopper on an event that
contains only a portion of a file, ACID places the entire
contents of the file in the Chopper. The part of the waveform
selected, however, matches the contents of the selected event.
This allows you to see the event in the context of the entire
media file.
Creating selections
To create a selection, drag the mouse, or hold while pressing the arrow keys. A shaded region appears
in the Chopper to indicate the current selection, and its start point, end point, and length display at the
bottom-right corner of the window in measures.beats.ticks format. You can preview the selection at any time
by clicking the Play button ( ) on the Chopper’s transport bar or pressing .
Shift
Space
Increment
Start End Length
88
USING THE CHOPPER CHP. 6
Note:
In addition, an increment arrow appears on the track
view above the selected block. For more information, see
Inserting increments on page 88.
As you make a selection in the Chopper, a colored block appears in the track view. This block indicates
where the selection will be placed on the track view when you insert it from the Chopper.
Creating selections of a specific musical length
You may want to create a selection with a length corresponding to a musical value. You can easily do this in
ACID using the Chopper’s selection shortcut menu.
1.
Create a selection or place the cursor in the Chopper. For more information, see Creating selections on page
87.
2.
Right-click and choose the desired musical length from the shortcut menu. ACID creates a selection
equal to the specified musical length.
Inserting increments
In addition to creating selections, the Chopper allows you to configure the sections of silence between
selections painted on a track. When you click the Link Arrow to Selection button ( ), ACID links the
increment arrow length with the selection length. This forces the increment and selection lengths to remain
equal, thereby allowing you to insert selections seamlessly, end-to-end, in the project.
When the Link Arrow to Selection button is toggled off, the increment arrow is displayed in black and you are
able to establish a increment length that is independent of the selection length. The increment arrow can be
set by dragging either end of the arrow or by using the increment shortcut menu.
When the increment length is greater than the length of the selection, ACID inserts an appropriate amount
of silence following the selection when you insert it in the track view. This affects the track’s insert position
and allows you to paint selections separated by the specified increment.
Chopper selection inserted end-to-end three times
Selection and increment length
Increment greater than selection Selection inserted with specified increment three times
CHP. 6 USING THE CHOPPER
89
When the increment length is less than the length of the selection, ACID overlaps the selections as you
insert them in the track view.
Creating increments
1.
Verify that the Link Arrow to Selection button ( ) is toggled off and the increment arrow is displayed in
black.
2.
Drag the point of the arrow to configure an increment of the desired length.
Tip:
While dragging the increment arrow, the Chopper’s
middle status value temporarily displays the length of the
increment.
Creating increments of a specific musical length
The increment shortcut menu, like the selection shortcut menu, allows you to create increments that
correspond to the specified musical length.
1.
Verify that the Link Arrow to Selection button ( ) is toggled off and the increment arrow is displayed in
black.
2.
Right-click the increment arrow and choose the desired musical value from the shortcut menu. The
increment length is automatically configured to the selected value in both the Chopper and the track
view.
Creating increments of a custom musical length
1.
Verify that the Link Arrow to Selection button ( ) is toggled off and the increment arrow is displayed in
black.
2.
Right-click the increment arrow and choose Custom from the shortcut menu. The Custom Length dialog
appears.
3.
Choose the desired increment format from the drop-down menu.
4.
Enter an appropriate value in the adjacent box and click OK. The increment length is automatically
configured to the selected value in both the Chopper and the track view.
Note:
It is possible to set an increment value that results in
the increment arrow extending beyond the scope of the
Chopper. If this occurs, an accurate depiction of the
increment still appears in the track view.
Increment less than selection Selection overlaps when inserted three times
90
USING THE CHOPPER CHP. 6
Inserting selections in the track view
You can add selections from the Chopper to your project in several ways.
Using the Insert Selection button
After you create the desired selection and increment, you can insert the selection in the project at the track
view’s cursor position by clicking the Insert Selection button ( ). After the Chopper inserts the audio,
the cursor moves to the end of the increment.
•If the increment length is equal to the selection length, selections are painted end-to-end.
•If the increment length is greater than the selection length, an appropriate amount of silence is painted
prior to the next insert position.
•If the increment length is less than the selection length, selections overlap.
Using copy and paste
You can right-click the selection in the Chopper and choose Copy from the shortcut menu to copy the
current selection to the clipboard. You can then use the Paste command to insert the selection in the track
view. After the event is pasted, the cursor advances to the end of the pasted event.
Note:
When you paste a selection from the Chopper to the
track view, ACID ignores the increment setting.
Dragging selections
You can drag a Chopper selection from the Chopper to the track view. Release the mouse at the location
where you want to insert the selection.
Moving the insert position in the track view
Click the Move Track View Cursor Left button ( ) and the Move Track View Cursor Right button ( ) to move
the current insert position in the track view left/right by the increment length.
Saving Chopper selections as new files
You can quickly create a new loop by making a selection in the Chopper and saving the selection as a new
file. ACID adds the file to your project as a new track.
1.
Make a selection in the Chopper.
2.
Right-click the selection and choose Chop to New Track from the shortcut menu. Alternately, press
. The Chop to New Track dialog appears.
Tip:
You can also drag a selection from the Chopper to the
track list.
3.
In the File name box, enter a name for the new file.
4.
From the Save as type box, choose a file format for the new file.
Ctrl +M
CHP. 6 USING THE CHOPPER
91
5.
From the Te mp l a t e drop-down list, choose a template for rendering the file, or click Custom to create
custom rendering settings. For more information, see Creating custom rendering settings on page 55.
6.
Click Save.
ACID saves the selection and adds the file as a loop to a new track in the project.
Using the Chopper with one-shots
Selections of loops and Beatmapped files transfer flawlessly between the Chopper and the track view because
the beats are clearly identified. However, one-shot files present more of a problem. You can use the following
method to create accurate single-hit selections in one-shot files.
1.
Verify that ACID’s snapping options are active. If snapping is not active, choose Snapping from the
Options menu and choose Enable from the submenu, or press .
2.
Verify that the Link Arrow to Selection button ( ) is selected.
3.
Create a selection of the desired musical length in the Chopper. For more information, see Creating
selections of a specific musical length on page 88.
4.
From the Options menu, choose Snapping, and choose Enable from the submenu, or press to toggle all
snapping options off.
5.
Click the Link Arrow to Selection button ( ) to toggle the linking option off. You can now adjust the
selection without changing the increment.
6.
Drag the middle of the increment arrow to reposition selection length in the Chopper.
7.
Use the mouse and/or keyboard to fine-tune the selection. The increment arrow does not change.
8.
Insert the desired selection data in the track view. For more information, see Inserting selections in the track
view on page 90.
9.
Repeat steps six through eight to insert all desired selections in the track view.
F8
F8
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USING THE CHOPPER CHP. 6
7
CHP. 7 WORKING WITH TRACKS
CHAPTER
93
Working with Tracks
This chapter covers advanced track features including track effect chains, track envelopes, and stereo
panning modes. You’ll also learn more about track types, track properties, and rendering tracks to new files.
Using track effects
ACID enables you to create DirectX plug-in chains, adjust the order of plug-ins on a chain, bypass a plug-in,
remove plug-ins from the chain, and save frequently used chains as presets.
The EQ plug-in is assigned to all tracks by default; however, it does not use CPU power or affect the sound
until you adjust its settings. You can remove the EQ plug-in if desired. For more information, see Removing
plug-ins from chains on page 95.
Important:
We recommend that you do not use time-
altering effects (such as time stretch, gapper/snipper, pitch-
shift without preserving duration, and some vibrato settings)
with an ACID project. Time-altering effects cause a track to
play out of synchronization with the waveform display in the
track view and with other tracks.
In addition, you can use effect plug-ins in the Mixer window by applying effect chains to busses or soft
synths, or by creating assignable effect chains and routing tracks to them. For more information, see Using the
Mixer on page 111.
Creating or adding to track plug-in chains
A plug-in chain can contain one or more plug-ins. When you add multiple plug-ins, you may set the
processing sequence that the track’s events go through when the project is played back. Moreover, the plug-
ins that you add to the chain may be added more than once. For example, a plug-in chain could look
something like this: EQ, Compression, EQ, and Noise Gate.
After you create a plug-in chain, ACID processes the track’s events by each plug-in in its respective order on
the chain. The events’ effects processing is cumulative, so in some cases, you may want to rearrange the order
of plug-ins to achieve the desired sound. For more information, see Arranging plug-in chain order on page 95.
1.
Click the Tr a ck F X button ( ). The Audio Plug-In window appears.
Note:
The Track FX button indicates whether the current
plug-in chain includes automatable effects ( ) or does not
include automatable effects ( ). By default, an ACID Pro
track plug-in chain includes the Track EQ plug-in, which is
automatable. For more information, see Adding effect
automation envelopes on page 98.
7
94
WORKING WITH TRACKS CHP. 7
2.
Click the Edit Chain button ( ) to display the Plug-In Chooser dialog.
3.
Select the plug-ins that you want to add. There are three ways to add a plug-in to the chain:
•Double-click the plug-in.
•Drag the plug-in to the chain area.
•Select the plug-in and click the Add button.
4.
Rearrange the order of plug-ins as needed by dragging plug-ins to different locations in the chain or by
selecting a plug-in and clicking the Shift Plug-In Left () and Shift Plug-In Right ( ) buttons.
5.
Click OK. The Plug-In Chooser dialog closes. The Audio Plug-In window displays the plug-in chain and
the settings for the plug-in last selected on the Plug-In Chooser dialog.
6.
Click a specific plug-in and adjust the effect’s parameters manually, or choose one of the presets from the
Preset drop-down list. For more information about effect parameters, click the Plug-In Help button ( ) in
the Audio Plug-In window.
Tip:
You can save an effect’s parameters as a preset to be
used in other projects. To save a preset, enter a name in the
Preset box and click the Save Preset ( ) button.
7.
Click the Close button ( ) to close the Audio Plug-In window.
You can use a track effect chain as a default for all new tracks you create. For more information, see Setting
default track properties on page 178.
Automating plug-in parameters
You can automate the parameters of certain plug-ins by adding envelopes to the track. For more information,
see Adding effect automation envelopes on page 98.
Chain area
CHP. 7 WORKING WITH TRACKS
95
Arranging plug-in chain order
The plug-ins are cumulative during playback. For example, when the track’s signal passes through the EQ, it
carries the EQ’s settings as it passes through the compression plug-in, then the signal carries both those plug-
in settings to the next plug-in.
Because of this cumulative effect, you may need to arrange plug-ins in a certain order so that one plug-in’s
processing does not adversely affect the next plug-in on the chain. There is no right or wrong way to order
plug-ins, although some plug-ins work better when they follow another. However, the plug-in order in the
chain is strictly based on your preferences and desired output.
1.
Click the Tr a ck F X button ( ). The Audio Plug-In window appears.
2.
There are two ways to arrange plug-ins in your chain:
•Drag the plug-in to a new location in the chain.
•Right-click the plug-in and choose Move Left or Move Right from the shortcut menu.
3.
Click the Close button ( )
to close the Audio Plug-In window.
Bypassing plug-ins in a chain
You can bypass a plug-in without removing it from the chain by clearing the check box for the plug-in.
Alternately, right-click the plug-in and choose Bypass from the shortcut menu.
Tip:
To bypass (or re-enable) all plug-ins in a chain, right-
click the Track FX button ( ) and choose Bypass All or
Enable All.
Bypassing effect automation
For plug-in chains that include effect automation using envelopes, you can bypass automation by clicking
the Bypass FX Automation button ( ). This does not remove any effect automation envelopes from the
track, but rather temporarily bypasses processing of the effect automation. You can toggle this button on and
off to hear the difference between the plug-in chain as a standard (non-automated) effect versus an
automated effect.
Removing plug-ins from chains
1.
Click the Tr a ck F X button ( ). The Audio Plug-In window appears.
2.
Right-click the plug-in and choose Remove from the shortcut menu, or click the Remove Selected Plug-In
button ( ).
3.
Click the Close button ( )
to close the Audio Plug-In window.
Tip:
To remove all plug-ins in a chain, right-click the Track
FX button ( ) and choose Delete All.
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WORKING WITH TRACKS CHP. 7
Saving plug-in chains as packages
ACID allows you to save plug-in chains as packages so that you may use them again with other projects. If
you use a combination of plug-ins often, saving them as a package saves you time. Effect packages retain their
chain order and individual plug-in settings.
You may save plug-in chains as packages from existing chains on tracks or when you are creating a plug-in
chain. The plug-in chains that you save as packages appear in the Plug-In Chooser dialog in the Packaged
Chains folder. You can apply an effect package to a track the same way you assign a plug-in to a track.
Once you have created custom presets for effects or effect chains, you can use the Preset Manager to back up,
transfer, or delete custom presets from any of the plug-ins you use in ACID. For more information, see Using
the Preset Manager on page 124.
1.
Click the Tra ck F X button ( ). The Audio Plug-In window appears.
Note:
If the track has no plug-in chain, clicking the Track FX
button ( ) displays the Plug-In Chooser dialog.
2.
Click the Edit Chain button ( ) to display the Plug-In Chooser dialog.
3.
Add and arrange plug-ins to create a plug-in chain and click OK.
4.
Click a specific plug-in and adjust the effect’s parameters manually, or choose one of the presets from the
Preset drop-down list. For more information about effect parameters, click the Plug-In Help button ( ) in
the Audio Plug-In window.
5.
Click the Save Chain Preset button ( ). The Save Plug-In Package dialog appears.
6.
Enter a name for the package.
7.
Click OK to save the plug-in chain as an effect package.
Removing or bypassing all effects on tracks
You can clear a track of all effects by right-clicking the Track FX button ( ) and choosing Delete All from the
shortcut menu.
You can bypass all of a track’s effects without removing them by right-clicking the Track FX button ( ) and
choosing Bypass All from the shortcut menu. To apply them again, right-click the Tra ck FX button ( ) and
choose Enable All from the shortcut menu.
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Using track envelopes
Track envelopes allow you to control volume, panning, assignable effect send levels, bus send levels, and
effect parameters (for effects that support automation) for a specific track. You can distinguish the various
envelopes by their color.
Tip:
You can customize ACID envelope colors. For more
information, see Using the Other tab on page 185.
Adding track envelopes
This section describes how to add each type of track envelope. For creative ways to use track envelopes, see
ACID Tips and Tricks on page 187.
Adding volume or pan envelopes
1.
Select the track to which you want to add the envelope. (You may select multiple tracks.)
2.
Add the envelope to the selected track(s) in one of following ways:
•From the Insert menu, choose Envelopes, and choose Volume or Pan from the submenu.
•Right-click the track header in the track list, choose Insert/Remove Envelope from the shortcut menu,
and choose Volume or Pan from the submenu.
•Press (volume envelope) or (pan envelope).
A blue line appears across the track(s) for a volume envelope, and a red line appears across the track(s) for
a pan envelope.
Note:
Because the default panning mode is additive, you can
introduce clipping when panning a track to the left or right.
Choose an appropriate pan type and adjust the track volume
accordingly. For more information, see Choosing stereo pan
types on page 103.
Envelope type Envelope color
Volume Blue
Pan Red
Bus send Purple
Assignable effect send Green
Effect automation Wood tones (various)
Shift + V Shift +P
Envelope line
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WORKING WITH TRACKS CHP. 7
Adding bus envelopes
A bus envelope controls the level of a track sent to a particular bus. Before you can add a bus envelope, you
must add busses to the project. For more information, see Adding busses to the project on page 111.
1.
Select the track to which you want to add the bus envelope. (You may select multiple tracks.)
2.
Add the envelope to the selected track(s) in one of the following ways:
•From the Insert menu, choose Envelopes, and choose the bus for which you want to add an envelope
from the submenu.
•Right-click the track header in the track list, choose Insert/Remove Envelope from the shortcut menu,
and choose the appropriate bus from the submenu.
A purple line representing the envelope appears across the track(s).
Adding assignable effect envelopes
An assignable effect envelope controls the level of a track sent to a particular assignable effect chain. Before
you can add an assignable effect envelope, you must add an assignable effect chain to the project. For more
information, see Adding assignable effect controls on page 113.
1.
Select the track to which you want to add the assignable effect envelope. (You may select multiple
tracks.)
2.
Add the envelope to the selected track(s) in one of following ways:
•From the Insert menu, choose Envelopes, and choose the assignable effect chain for which you want to
add an envelope from the submenu.
•Right-click the track header in the track list, choose Insert/Remove Envelope from the shortcut menu,
and choose the appropriate assignable effect chain from the submenu.
A green line representing the envelope appears across the track(s).
Adding effect automation envelopes
If a plug-in supports automation, you can use envelopes to adjust effect parameters over time. The
appearance of the plug-in in the Plug-In Chooser window indicates whether the plug-in supports
automation. Plug-ins with this icon ( ) support automation, while plug-ins with this icon ( ) do not. In
addition, you can quickly locate plug-ins that support automation in the Automatable subfolder.
For creative ways to use effect automation envelopes, see Creating wah-wah effects with automated Track EQ on
page 191 and Turning automated effects on and off on page 192.
1.
Click the Tra ck F X button ( ) on a track to open the Audio Plug-In window.
If no track effects exist, clicking the Track FX button displays the Plug-In Chooser. Use the Plug-In
Chooser to create an effect chain including an automatable plug-in. For more information, see Creating or
adding to track plug-in chains on page 93.
2.
Click the FX Automation button ( ) to display the FX Automation Chooser.
3.
Click a plug-in at the top of the FX Automation Chooser. A list of the effect’s automatable parameters
appears.
CHP. 7 WORKING WITH TRACKS
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4.
Select the check box for each parameter that you want to control with an envelope. You can use the
Select All and Select None buttons to quickly change your selections to all or none of the parameters.
5.
Click OK to close the FX Automation Chooser.
Envelopes display on the track for parameters that you selected in the FX Automation Chooser. To
control which effect parameter envelope displays on the track, click the arrow adjacent to the Tra ck F X
button ( ) and choose an envelope from the menu.
Tip:
Press to toggle through the display of all effect
parameter automation envelopes.
Adjusting envelopes
To adjust the overall level of an envelope, simply drag the envelope line up or down. A tooltip displays the
amount of the adjustment as you drag. You can adjust envelopes in real time.
You can also change the level of an envelope over time by adjusting individual envelope points that you
place along the envelope line.
Tip:
If you have multiple
envelopes on a track,
hover over an envelope to
display a tooltip
indicating the name of the
envelope.
Adding envelope points
After you have inserted an envelope, you can add envelope points to control the level of signal or amount of
panning at specific points in time.
1.
Place the mouse pointer on the envelope line. The envelope cursor ( ) appears.
2.
Add an envelope point in one of the following ways:
•Double-click the envelope.
•Right-click the envelope and choose Add Point from the shortcut menu.
Tip:
If you add too many points, you may delete a point by
right-clicking it and choosing Delete from the shortcut menu.
You may also clear all envelope points by selecting Reset All
from the shortcut menu.
E
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WORKING WITH TRACKS CHP. 7
Adjusting individual envelope points
You can set the level of each envelope point by dragging it up or down. As you move an envelope point, a
tooltip displays both the point’s occurrence on the timeline and its level.
Other ways to set the level include:
•Right-click an envelope point and choose a setting from the shortcut menu.
•Choose Select All from the shortcut menu to raise or lower all points on the envelope.
•Right-click an envelope point and choose Set To from the shortcut menu. This displays a box in which
you can specify a setting.
You can adjust an envelope point’s location on the timeline by dragging it right or left. If snapping is
enabled, the envelope point snaps to time divisions as you drag. Hold while dragging to override
snapping. For more information, see Using snapping on page 78.
Flipping envelopes
You can flip an envelope to invert the envelope around its center.
1.
Right-click a track that has an envelope. A shortcut menu appears.
2.
From the shortcut menu, choose Flip Envelope, and choose the type of envelope to flip from the submenu.
Changing envelope fade curves
You may set the type of fade curve that occurs between envelope points: linear, fast, slow, smooth, sharp, or
hold. To change the fade curve, right-click an envelope between two envelope points and choose the
appropriate fade curve from the shortcut menu.
Locking envelope points to an event
From the Options menu, choose Lock Envelopes to Events if you want envelope points to move with an event
when it is moved along the timeline.
Using the Envelope tool
The Envelope tool is designed to manipulate multiple envelope points. Use the Envelope tool when you
want to edit envelope points but do not want to change other elements of the project. With the Envelope
tool selected, events cannot be moved or edited.
Selecting and moving envelope points
To select multiple envelope points using the Envelope tool, click the track that contains the envelope and
drag your cursor in the track view to select the points you want to move. Selected points display in an
alternate color. Click any selected point and drag it to the new position; all selected points will follow.
To deselect the points, click anywhere outside the selection.
Shift
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Cutting, copying, and pasting envelope points
1.
Select the Envelope tool using one of the following methods:
•From the Edit menu, choose Editing Tool, and choose Envelope from the submenu.
•Click the Envelope Tool button ( ) on the toolbar.
2.
Click within a track to select it.
3.
Drag along the timeline to select envelope points.
4.
From the Edit menu, choose Cut or Copy.
5.
Position the cursor where you want to paste envelope points across a track.
6.
From the Edit menu, choose Paste.
Copying envelopes to another track
1.
Select the Envelope tool using one of the following methods:
•From the Edit menu, choose Editing Tool, and choose Envelope from the submenu.
•Click the Envelope Tool button ( ) on the toolbar.
2.
Click within a track to select it.
3.
From the Edit menu, choose Select All.
4.
From the Edit menu, choose Cut or Copy.
5.
Click within a track to select it.
6.
Click the Go to Start button ( ) if you want the envelope to appear exactly as it was in the original track,
or click to position the cursor where you want the envelope to start.
7.
From the Edit menu, choose Paste.
Hiding track envelopes
After you have created your envelope and set your envelope points, you may hide the envelope. Hiding an
envelope does not affect the envelope point settings or track playback.
Hiding volume, pan, bus, or assignable effect envelopes
1.
Select the track(s) whose envelope(s) you want to hide.
2.
From the View menu, choose Show Envelopes. A submenu appears. A check mark next to an envelope
type indicates that it is visible in the track view.
3.
From the submenu, choose the type of envelope you want to hide. The specified envelope type no longer
appears in the track view for the selected track.
You can use the same steps to display the envelope again.
Tip:
Select a track and press to hide a volume envelope or
to hide a panning envelope. Press the key again to display
the envelope.
V
P
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WORKING WITH TRACKS CHP. 7
Hiding effect automation envelopes on a track
To hide effect parameter envelopes, click the arrow adjacent to the Tra ck F X button ( ) and choose Hide All
FX Automation Envelopes from the menu. To display envelopes again, click the arrow adjacent to the Track FX
button ( ) and choose Show All FX Automation Envelopes from the menu.
Tip:
Press to toggle through the display of all effect
parameter automation envelopes.
Removing track envelopes
You can remove envelopes from tracks quickly and easily.
Note:
When you remove an envelope from a track and then
add it again, you must recreate its envelope points.
Removing volume, pan, bus, or assignable effect envelopes
1.
Select the track(s) from which you want to remove the envelope(s).
2.
From the Insert menu, choose Envelopes. A submenu appears showing a check mark next to the
envelopes being used.
3.
From the submenu, choose the type of envelope you want to remove. The envelope type is removed from
the selected track(s).
Tip:
Press to remove a volume envelope or press
to remove a pan envelope.
Removing effect automation envelopes
1.
Click the arrow adjacent to the Track FX button ( ) and choose FX Automation from the menu. The FX
Automation Chooser appears.
2.
Click the plug-in whose automation envelopes you want to remove. The parameters for the effect appear
in the dialog.
3.
Clear the check boxes for the envelopes to be removed.
4.
Click OK.
Tip:
You can bypass effect automation without removing
envelopes. For more information, see Bypassing effect
automation on page 95.
E
Shift +V
Shift +P
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Choosing stereo pan types
When you pan a track using the multipurpose slider or a pan
envelope, you can choose among several pan types to determine
how ACID pans the track.
Note:
When applying stereo pan types, ACID interprets a
monaural track as a stereo track with the same data in both
channels.
1.
Click the multipurpose slider label and choose Pan. The pan slider appears.
2.
Click the multipurpose slider label again, choose Pan from the menu, and choose a pan type from the
submenu.
•The Add Channels pan type is most useful for panning stereo source material. This pan type makes the
stereo image appear to move as a unit between the speakers. As the fader is moved from the center to a
side, more and more of the signal from the opposite side is folded into the side you are panning towards,
until at the extreme, both channels are fed at full intensity into a single channel. This pan type uses a
linear panning curve.
•The Balance pan type is most useful for adjusting the relative signal levels of the right and left channels
in stereo source material. In this pan type, moving from the center to a side, the opposite side starts at a
base dB level (either 0 dB, -3 dB, or -6 dB) and decays to no signal level. The signal in the side you are
panning towards starts at the base dB level (either 0 dB, -3 dB, or -6 dB) and increases to 0 dB. When
the stereo source is panned fully to one side, that side plays at 0 dB while the other side provides no
signal at all. This pan type uses a linear panning curve.
•The Constant Power pan type is most useful for panning mono source material. As you move the fader
from side to side, this pan type creates the illusion of the source moving around the listener from one
side to the other, in a semi-circle. This pan type uses the constant-power panning curve.
You can choose a pan type as a default for all new tracks you create. For more information, see Setting default
track properties on page 178.
Using the Beatmapper
When you add a file to a project that is longer than 30 seconds, ACID’s Beatmapper Wizard starts. This
allows you to decide whether or not to add tempo information to the file.
The Beatmapper identifies a file’s downbeats and measures, allowing the file to stretch/compress in
conjunction with the project’s tempo. A file added without the Beatmapper behaves as a one-shot,
maintaining its original length regardless of the project tempo.
1.
Add the file to your project. The Beatmapper Wizard starts if the file is longer than 30 seconds.
Note:
You can change the file length that triggers the
Beatmapper in the Audio tab of the Preferences dialog. For
more information, see Using the Audio tab on page 181.
2.
Specify whether you want to use the Beatmapper Wizard:
•Select the Ye s radio button and click Next to detect measures and downbeats.
•Select the No radio button and click Finish to close the Beatmapper and add the file as a one-shot.
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WORKING WITH TRACKS CHP. 7
3.
Click the Play button ( ) to verify the downbeat marker’s position. If the marker is positioned on a
downbeat, click Next. Otherwise, drag the marker to the appropriate location and click Next. The
Beatmapper draws the file’s waveform and places a region to indicate the length of the first measure.
Tip:
The Reset button sets the downbeat marker back to its
detected position.
4.
Click the Play button ( ) to verify the measure’s length.
•Select the Metronome check box to preview the measure with the assistance of a metronome.
•Click the Halve Loop Region () or Double Loop Region ( ) button to change the length of the
selection. If the Beatmapper misdetects the length of the measure, it may be off by either half or double
the actual amount.
•If the region is positioned correctly, click Next. Otherwise, drag the region markers to the appropriate
locations and click Next.
The waveform appears with measure lengths selected.
5.
Drag the Measure slider to scroll through the song and click the Play button ( ) to verify each measure’s
length. If the song’s tempo is consistent, the measures are placed correctly. If the tempo fluctuates, you
can drag the end of the measure selection to change the measure’s position.
Changing the measure length affects the entire song; if adjusting the last measure of the song causes the
first measure to be incorrect, the downbeat may not be positioned correctly, or the song's tempo may not
be consistent enough for the Beatmapper.
6.
Click Next when the measure lengths are correct. The Beatmapper adds tempo information to your file
and displays some additional options.
7.
Specify your preferences for the following options:
•Select the Change project tempo to match Beatmapped track check box if you want ACID to set your project
tempo to match the tempo calculated by the Beatmapper Wizard. Selecting the check box ensures that
your Beatmapped track plays at the original tempo.
•Select the Preserve pitch of the Beatmapped track when tempo changes check box to maintain the track’s
original pitch regardless of the project’s tempo.
•Select the Save Beatmapper information with file check box if you want the file to open with the
Beatmapper settings each time you use the file.
8.
Click Finish to close the Beatmapper Wizard. The file is added to the project as a Beatmapped track.
9.
Draw the event in the track view.
Tip:
You can place the entire event by using the Paint ( )
tool. With the Paint tool selected, press while you click
once in the track to place the Beatmapped file.
Ctrl
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Understanding stretching properties
All loops on the ACID 4.0 CD-ROM (as well as all loop library CD-ROMs) contain stretching properties.
This means that tempo and key information is stored in the loops, allowing the application to accurately
perform its time stretching/compressing and pitch-shifting functions on these loops when placed in a project.
Keep in mind that you do not need to designate stretching properties for loops that you create for ACID
projects. The application typically makes an accurate estimate regarding the loop file’s tempo. In addition,
you can temporarily assign a root note to the file to allow it to be transposed to the project’s key. However,
when creating custom loops for use in multiple projects, you should define stretching properties.
You can set the stretching properties for loops and Beatmapped tracks. For more information, see Adjusting
stretching properties for loop or Beatmapped tracks on page 106.
Configuring track properties
Double-click a track icon (such as ) to display the Track Properties window.
Note:
This section addresses track properties for non-MIDI
tracks. For information on MIDI track properties, see
Changing MIDI track properties on page 132.
Once you modify the properties of a track, ACID saves the information with your project, but does not alter
the original media file. If you want, you can save your changes to the media file as well. For more information,
see Saving file properties on page 109.
Note:
When you edit a track in an external editor, changes
to the sound file are reflected immediately after you save the
file. Changes to a media file's ACID properties are not
updated in your ACID project until you click Reload on the
Track Properties window.
Adjusting general track properties
The General tab displays information about the file associated with a track and allows you to change the track
type (except for MIDI track types), apply pitch shifting to all events on the track, and adjust time stretching
for Beatmapped tracks.
Changing track type
For non-MIDI tracks, choose a setting from the Track type drop-down list to change the way ACID handles
the track.
Track Type Description
Loop When you select Loop, ACID transposes the track to the key of the project and stretches
the track to fit the project tempo. Loops can be drawn across the track and will repeat
end-to-end.
One-Shot When you select One-Shot, ACID streams the track from the hard disk rather than
storing it in RAM if it is longer than thirty seconds. One-shot files do not change tempo
with the rest of the loops, and are not transposed to the project key.
The Stretch tab is not available when One-Shot is selected.
Beatmapped When you add a file that is longer than 30 seconds to a project, ACID’s Beatmapper
Wizard allows you to add tempo information to the file.
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WORKING WITH TRACKS CHP. 7
Adjusting time stretching (Beatmapped tracks only)
If you want ACID to preserve the track’s pitch while you adjust the tempo, select the Preserve pitch when
stretching check box. When the check box is cleared, you can still adjust the tempo of the track, but the pitch
is also affected.
Adjusting pitch shift
Enter a value in the Pitch Shift box (or use the spinner control) to adjust the pitch of all events on the track.
Adjusting stretching properties for loop or Beatmapped tracks
The Stretch tab allows you to specify how ACID handles pitch shifting and time stretching for loop or
Beatmapped tracks. After you have edited a file's properties, click the Save File button ( ) to embed ACID
information with the file.
Tip:
To save to a different file, click the Save File As button
().
If you cannot or do not wish to embed ACID information with the file, you can set the properties to suit your
needs, and they will be saved with the ACID project (but not with the file). This means, however, that you
must set the properties for every project where you use the loop. Configuring the stretching properties and
clicking the Save File button ( ) allows you to “set and forget” the properties so the properties will be set for
any project.
If you edit the file in another audio-editing program, ACID-specific data may be removed. If this occurs,
simply set the stretching properties again and click the Save File button ( ).
Note:
The Stretch tab for Beatmapped tracks is essentially
the Beatmapper without the wizard.
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Stretching properties for loop tracks
The following table describes the settings on the Stretch tab for loop files.
Stretch markers for loop tracks
On the Stretch tab of the Track Properties window is a graphic of a track’s waveform along with the stretch
markers that ACID has automatically placed in the file. These markers correspond to detected subdivisions
of beats in the audio file. Accurately detecting beats is essential to making quality time compression/
expansion.
The color of the markers on the beat ruler provides you with additional information. The following table
describes the correlation between marker color and status.
Item Description
Root note Choose a note from the drop-down list to set the base note for loops that you want to conform
to the project key.
If you do not want a track transposed to the project key (a track that contains a drum sample,
for example) choose Don’t transpose.
Number of beats Choose a setting from the drop-down list to specify the length of the original file. Selecting a
value that does not match the actual file causes the loop to play at a different speed. For
example, specifying a length of 8 beats for a 4-beat loop causes the loop to play at half-speed
at any given tempo.
You can misinform ACID regarding the beat length of a loop for creative ends.
For more
information, see Playing double time/half time on page 189
.
Stretching method Stretching properties determine how ACID performs time compression and expansion on audio
events. If you hear audio anomalies due to time compression, try editing the stretching
properties of the track.
Looping segments is the default stretching method, and it works well with most types of
material.
Choose Nonlooping segments for sustaining material such as synthesizer pads and held
notes.
Choose Pitch shift segments to shift the pitch of the track to adjust for increases or
decreases in tempo. Using this option, you can eliminate some of the problems that occur with
extreme tempo changes. For example, if you have slowed the project tempo down and hear
echo artifacts, choosing Pitch shift segments can eliminate these artifacts.
You can adjust stretching properties creatively.
For more information, see Overriding
compress/expand on page 193
.
Force divisions at Choose a setting from the drop-down list to adjust the resolution of beat detection. Higher
settings increase resolution and lower settings decrease resolution. Audio that contains rapid
notes—such as drum rolls—benefits from setting the divisions at a smaller fraction of a beat.
Slower-paced material, however, may actually suffer from high resolution.
Additional transient
detection
Enter a value in the box or use the spin control to adjust the amount of extra beat detection
that ACID performs for the beat subdivision specified by the Force divisions at setting.
A higher percentage detects a greater number of transients. Increasing this number can be
advantageous when working with audio that has complex rhythms. Lower numbers are more
suitable for synthesizer pads and other basic material.
Marker Color Description
This is an auto-detected marker that has been placed on a
beat by ACID.
This is a custom marker. A file may contain custom
markers if its stretching properties have been adjusted
previously, like the loops on the ACID CD.
This is a disabled marker.
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Setting markers
You can use the mouse to add, move, disable, and delete markers from the track’s beat ruler. The following
table briefly describes each of these actions.
Tip:
Right-clicking a marker displays a shortcut menu that
allows you to perform many of the same functions.
Stretching properties for Beatmapped tracks
The following table describes the settings on the Stretch tab for Beatmapped tracks.
Adjusting track properties for MIDI tracks
You can use the General tab to change the track’s pitch and root note, as well as work with the tracks inside a
MIDI file. The Piano Roll Editor and List Editor tabs allow you to view and edit all MIDI data. You can also load
third-party OPT MIDI plug-ins on your system in the Track Properties window. For more information, see
Working with MIDI on page 131.
Reloading files
Clicking the Reload button ( ) restores all settings from the media file. Any setting changes made on
the Stretch tab of the Track Properties are discarded.
Clicking this button also updates the Track Properties window when changes are made to the properties
from an external editor.
Action Description
Clicking Resets all markers to their default state, but also
sets all other values on this page back to default.
Dragging a marker Moves markers on the beat ruler. Moving an auto-
detected marker ( ) causes it to become a custom
marker ( ).
Double-clicking an empty
section of the marker ruler Adds a new custom marker ( ) to the beat ruler.
Double-clicking an existing
marker
Disables the marker.
Double-clicking a disabled
auto-detected marker ( )
Enables the marker and toggles it back to its default
color ( ). Auto-detected markers cannot be
removed.
Double-clicking a disabled
custom marker ( )
Removes the marker from the beat ruler.
Item Description
Root note Choose a note from the drop-down list to set the base note for tracks that you want to
conform to the project key.
If you do not want a track transposed to the project key, choose Don’t transpose.
Original tempo Displays the original tempo of the track as determined by the Beatmapper Wizard. Enter a
value in the box or use the spin control to adjust the tempo.
Downbeat offset Displays the location of the track's first downbeat as determined by the Beatmapper wizard.
Enter a value in the box or use the spin control to adjust the location.
Beatmapper Wizard Click the Beatmapper Wizard button to adjust a track's tempo information.
For more
information, see Using the Beatmapper on page 103
.
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Replacing files
Clicking the Replace File button ( ) displays the Replace File dialog and allows you to replace the
audio file on the current track with a new audio file. This feature only replaces the actual audio. All track
timing, effects, and envelopes remain.
Tip:
You can also replace a file by dragging an audio file from
the Explorer and dropping it on the track name of an existing
track.
Saving file properties
When you make changes in the Track Properties window, ACID saves the changes you have made in the
project file, but does not alter the original media file. To save track property changes in the media file, click
the Save File button ( ).
You can also click the Save File As button ( ) to save the changes to a new file. ACID saves the media with
the modified track properties to a new file, and renames the track in the track list to reflect the change.
ACID saves all the information in the Track Properties window to your file except for any pitch-shifting you
have applied and, for MIDI tracks, any volume or panning settings you have adjusted. ACID also saves any
regions or markers you have created in the Chopper. For more information, see Inserting markers and regions in
the Chopper on page 87.
Mixing multiple tracks to a single track
ACID allows you to mix a selected group of tracks or an entire project to a single-track stereo event. If your
project includes any muted tracks, however, ACID does not mix those events into the new track. The
original tracks and their events are unaffected when you mix to a single track.
Typically, you would use this feature when you are finished refining a few tracks and want to combine them
to conserve processing power. Also, when you mix multiple tracks to a single stereo track, any envelope or
track effects that you applied are rendered into the newly mixed-down track. You can also use this feature to
downmix 5.1 surround projects to stereo.
This option also allows you to destructively process any track effect plug-ins.
1.
Solo the tracks you want to mix. To mix down the whole project, skip to step two.
2.
From the Tool s menu, choose Render to New Track or press . The Render to New Track dialog
appears.
3.
Complete the Render to New Track dialog:
•From the Save in drop-down list, choose the location where you want to save the new media file.
•Enter a name for the track in the File name box.
•From the Save as type drop-down list, choose a file format.
•From the Te mp l a t e drop-down list, choose an audio format from the template list, or click Custom to
create custom rendering settings.
Note:
If you want to downmix a 5.1 surround project,
choose a stereo rendering format.
•Select the Render loop region only check box if you want to render only the loop region to the new mixed
down track. Clear the check box to render the full length of the project.
Ctrl +M
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WORKING WITH TRACKS CHP. 7
4.
Click Save. The time selection or project is mixed down to a new track and a copy of the file is saved in
the folder specified.
As the tracks are being mixed down, a status bar appears in the lower-left corner of the ACID window.
Tip:
You may cancel the
rendering process by
clicking the Cancel button
() on the status bar.
After ACID mixes down the new track, it appears at the bottom of the track view. If you mixed down the
entire project, you may delete or mute the other tracks from the project, as they are all contained on the
new track.
5.
Use the Draw ( ) tool to paint the waveform on the new track.
Exporting loops
From the File menu, choose Export Loops to create new loops using the original loop media files in your
ACID project.
A new loop file is created for every tempo change in the project, which can result in multiple loop files being
created from a single loop media file.
1.
From the File menu, choose Export Loops. The Export Loops dialog appears.
2.
From the Save in drop-down list, choose the drive or folder to which the new files will be saved.
3.
From the Save as type drop-down list, choose the file format.
4.
From the Te m p l a t e drop-down list, choose an audio format, or click Custom to create custom rendering
settings.
5.
Click Save. A progress dialog appears for each track as it is rendered to a file. ACID includes tempo
information in the file name of each loop file created (e.g., bass 120.000 BPM. wav).
Cancel button
8
CHP. 8 USING THE MIXER
CHAPTER
111
Using the Mixer
In the Mixer window, you’ll manage the project’s busses, assignable effects, and soft synth controls. In this
chapter, you’ll learn how to add each of these controls to the mixer and route individual tracks to them.
You’ll also learn about working with the mixer controls, including adjusting levels, muting, soloing, and
adding effects. This chapter also describes how to automate mixer controls by viewing them in the track
view and adding envelopes.
Using busses
Think of busses as virtual pathways where signals from multiple tracks or effects can be mixed. You can add
as many as 26 busses to the Mixer window, which provides you with a great deal of flexibility and mixing
power.
Busses are the last stage of the ACID signal flow and as such can be used to output audio signals to specific
hardware. For more information, see Routing busses to system hardware on page 112.
Adding busses to the project
Add a bus to a project by clicking the Insert Bus button ( ) in the Mixer window or by choosing Bus from
the Insert menu.
Adding multiple busses
1.
Display the Project Properties dialog using one of the following methods:
•Choose Properties from the File menu.
•Press .
2.
Click the Audio tab.
3.
Enter a value in the Number of stereo busses box and click OK. The busses are added to the Mixer window.
Routing tracks to busses
If your project contains multiple busses, you can assign tracks to specific bus outputs. To assign a track to a
bus, click the Bus Assignment button ( ) on the track header and choose the desired bus from the menu.
Assigning tracks to busses allows you to apply settings to a series of tracks and to route tracks to a particular
hardware output.
Note:
The Bus Assignment button only appears if you have
more than one bus in the project.
Alt +Enter
8
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USING THE MIXER CHP. 8
Adjusting the bus send level
You can adjust the level of a track sent to a bus with the multipurpose slider in the track list.
Tip:
Bus sends are pre-
volume by default. To
change to post-volume,
click the multipurpose
slider label in the track
list, choose the appropriate
bus from the menu, and choose Post Volume from the
submenu.
Routing busses to system hardware
You can route individual busses to specific system hardware for output. This allows you to configure busses to
route output (projects or individual tracks) to sound cards, recording devices, mixing boards, etc.
By default, all busses are assigned to the Master bus. In this configuration, you can use busses for creating
subgroups of tracks. For example, you could route all your drum tracks to a bus so you can adjust their levels
together without changing their relative levels. However, you can also route busses to hardware outputs so
you can use busses for sending tracks to external effects processors or for mixing on an external mixer.
Note:
When you installed ACID, the application
automatically identified all hardware available for output on
your computer and listed these components as options on the
Audio tab in the Preferences dialog. For more information, see
Using the Audio tab on page 181.
To route busses to hardware, you must first verify whether you are using a Windows Classic Wave Driver, a
DirectSound driver, or an ASIO driver as your audio device. Then you can choose the appropriate hardware
device in the Mixer window.
1.
From the Options menu, choose Preferences and click the Audio tab.
2.
From the Audio device type drop-down list, choose Windows Classic Wave Driver or an ASIO driver.
3.
Click OK to close the Preferences dialog.
Note:
If you have chosen Microsoft Sound Mapper in the
Audio device type drop-down list on the Audio tab, you
cannot assign the bus to a different device.
4.
In the Mixer window, click the Playback Device Selector button ( ) on the bus you want to route.
5.
Choose a hardware device from the menu that appears.
Deleting busses
Just as you can add busses to a project at any time, you can also delete superfluous busses. When you delete a
bus from a project, tracks assigned to it are reassigned to the Master bus.
Deleting a bus
Right-click the bus in the mixer and choose Delete from the shortcut menu.
CHP. 8 USING THE MIXER
113
Deleting multiple busses
1.
Display the Project Properties dialog using one of the following methods:
•Choose Properties from the File menu.
•Press .
2.
Click the Audio tab.
3.
Enter a value in the Number of stereo busses box and click OK. The busses are removed from the Mixer
window.
Using assignable effects
You can use assignable effect controls to send various levels of multiple tracks to a single effect chain. Like
busses, these controls reside in the Mixer window and support plug-in chains. In addition, assignable effect
outputs can be routed to project busses. You can add up to 32 assignable effect controls to a project, and each
control supports as many as 32 DirectX plug-ins on its chain.
For creative ways to use assignable effects, see Adding depth with assignable effects on page 189.
Adding assignable effect controls
1.
From the Insert menu, choose Assignable FX or click the Insert Assignable FX button ( ) in the Mixer
window. The Plug-In Chooser dialog displays a list of the available plug-ins, and the assignable effect
control is added to the Mixer window.
Important:
Do not use time-altering effects (such as time
stretch, gapper/snipper, pitch-shift without preserving
duration, and some vibrato settings) with an ACID project.
Time-altering effects cause tracks routed to the assignable
effect control to play out of synchronization with the
waveform display in the track view and with other tracks.
2.
Add all desired plug-ins using one of the following methods:
•Double-click the desired plug-in.
•Drag the desired plug-in to the chain area.
•Select the desired plug-in and click Add.
Note:
If you have preset plug-in chains saved, double-click
the Packaged Chains folder to view those presets. For more
information, see Saving plug-in chains as packages on page
124.
3.
Click OK. The Plug-In Chooser dialog closes. The Audio Plug-In window opens and displays the plug-in
chain.
Alt +Enter
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USING THE MIXER CHP. 8
4.
Click a specific plug-in and adjust the effect’s parameters manually, or choose one of the presets from the
Preset drop-down list. For more information about effect parameters, click the Plug-In Help button ( ) in
the Audio Plug-In window.
Tip:
You can save an effect’s parameters as a preset to be
used in other projects. To save a preset, enter a name in the
Preset box and click the Save Preset button ( ).
5.
Click the Close button ( ) to close the Audio Plug-In window.
Working with assignable effects chains
After you add an assignable effect control, you can add plug-ins to the chain and modify them as needed. For
more information, see Adding effects to mixer controls on page 121.
Routing tracks to assignable effect controls
Routing tracks to an assignable effect control allows you to assign multiple tracks to a plug-in chain.
1.
Click the multipurpose slider label (this icon displays Volume by default) and choose the desired assignable
effect control from the menu that appears. The slider changes to reflect the name of the assignable effect
control.
2.
Drag the fader to adjust the level of the track sent to the assignable effect chain.
Tip:
Assignable effect
chains are post-volume by
default. To change to pre-
volume, click the
multipurpose slider label in
the track list, choose the
appropriate assignable effect
chain from the menu, and choose Pre Volume from the
submenu.
If you set the Dry Out faders in your effect chain to -inf, you can adjust the wet/dry balance using the volume
and assignable effect settings on the multipurpose slider. The volume fader adjusts the dry signal and the
assignable effect fader controls the effect signals.
Routing assignable effect controls to busses
By default, assignable effect controls are routed to the Master bus for output. The bus then mixes the
assignable effect plug-ins with all tracks routed to the same bus and outputs the mixed signal to the
appropriate output device. For more information, see Routing busses to system hardware on page 112.
To route an assignable effect control to a different bus, click the Playback Device Selector button ( ) on the
assignable effect control and choose the desired bus from the drop-down list. The drop-down list displays all
current busses in the project. For more information, see Adding busses to the project on page 111.
CHP. 8 USING THE MIXER
115
Deleting assignable effect controls
In the Mixer window, right-click the assignable effect control you want to delete and choose Delete from the
shortcut menu, or select the control and press . The assignable effect control is removed from the
Mixer window.
Using soft synth controls
You can add soft synth bus controls in the mixer to control the routing of your MIDI tracks to software
synthesizers. Soft synth controls allow you to control volume and voice mappings for your MIDI tracks and
add effects to a software synthesizer. In the same way you can route a MIDI keyboard to an outboard
synthesizer module, you can route each MIDI track to any soft synth control you have set up for your project.
Tip:
You can also use soft synth controls to play MIDI from
an external device. For more information, see Playing MIDI
from external devices on page 150.
There are three types of soft synth bus controls you can add: DLS, VSTi, or ReWire devices.
A DLS or VSTi soft synth bus control is like a virtual synthesizer module where you can route tracks. In the
same way you can route a MIDI keyboard to an outboard synthesizer module, you can route each MIDI track
to any soft synth you have set up for your project or play a soft synth with an external MIDI controller.
A ReWire soft synth bus control connects a ReWire panel application with ACID, which serves as a ReWire
mixer application. When ACID hosts a ReWire panel application, playback is synchronized between the
two programs, and the panel application’s audio is output through the ACID mixer. With ReWire 2.0 panel
applications, you can also route MIDI tracks to ports (synths) in the ReWire panel applications.
Note:
If you receive an error that a MIDI port is currently
in use when you try to play back your project, check the
MIDI tab in the Preferences dialog and verify that your
ReWire panel applications are not trying to access the same
MIDI ports ACID is configured to use.
Delete
116
USING THE MIXER CHP. 8
Adding soft synth controls to projects
If you have no external MIDI devices defined, ACID adds a soft synth control with a default DLS voice set
for you when you add a MIDI track to your project. You can add more soft synth controls to a project as
needed.
1.
Click the Insert Soft Synth button ( ) in the Mixer window. The Soft Synth Chooser dialog appears.
2.
To add a DLS or VSTi soft synth, click the Soft Synths tab and choose an available synth from the list. To
add a ReWire panel application, click the ReWire Devices tab and choose an installed panel application
from the list.
3.
Click OK.
Note:
If the VST instrument you want to use does not
appear in the list, click VST Preferences. For more
information, see Locating VST instruments for use in ACID
on page 118. If the ReWire panel application you want to use
does not appear in the list, see Locating ReWire panel
applications for use in ACID on page 119.
Modifying soft synth control properties
Once you add a soft synth control to your project, you can use the Soft Synths Properties window to change
the DLS, VSTi, or ReWire 2.0 soft synth used by the control, or edit the properties associated with the
selected soft synth.
Accessing the Soft Synth Properties window
Note:
You cannot display Soft Synth Properties for ReWire
1.0 soft synths or ReWire 2.0 soft synths routed to a specific
channel.
You can display the Soft Synth Properties window by double-clicking the soft synth icon on a Mixer control
( ), or by right-clicking the icon and choosing Soft Synth Properties from the shortcut menu.
Changing the soft synth control routing
1.
Double-click the soft synth icon on a control ( ). The Soft Synth Properties window appears.
2.
Click the Edit Soft Synth button ( ). The Soft Synth Chooser dialog appears.
3.
To route the soft synth control to a DLS or VSTi soft synth, click the Soft Synths tab and choose an
available soft synth from the list. To route the soft synth control to a ReWire panel application, click the
ReWire Devices tab and choose an installed panel application from the list.
CHP. 8 USING THE MIXER
117
Changing voice mapping for DLS soft synth controls
You can choose a DLS set from anywhere on your system for output from a DLS soft synth control.
1.
Double-click the soft synth icon on a control ( ). The Soft Synth Properties window appears.
2.
Choose a DLS set from the Voice set drop-down list or click the Open DLS Voice Set button ( ) to browse
to a DLS set. If you have the Enable Real-Time MIDI ( ) option enabled, you can audition voices using the
keyboard at the bottom of the window.
Note:
To set the current voice set as the default setting to be
used whenever you add a DLS soft synth, click the Set as
default DLS Voice Set button ().
Changing patches for DLS soft synth controls
The Available voices pane displays the patch names, numbers, and other parameters of the voices included in
the DLS set. You can choose a patch for ACID to play until ACID receives a patch change from the MIDI
file.
Tip:
You can make ACID ignore patch changes during
playback by clicking the Playback Filter button ( ) in the
Track Properties window and choosing the Patch Change
check box in the MIDI Event Filter dialog. For more
information, see Filtering MIDI events during playback on
page 134.
1.
Choose a channel from the Channel drop-down list.
2.
Choose a patch in the Available voices pane. ACID uses this patch until you choose another or until ACID
receives a patch change from the MIDI file.
Tip:
You can create patch change events in the list editor in
order to change patches within MIDI files. For more
information, see Creating events on page 145.
Changing VST instruments for soft synth controls
You can choose a VST instrument from anywhere on your system for output from a soft synth control.
1.
Double-click the soft synth icon on a control ( ). The Soft Synth Properties window appears.
2.
Click the Edit Soft Synth button ( ). The Soft Synth Chooser dialog appears.
3.
Choose a VST instrument from the list and click OK.
If the VST instrument you want to use does not appear in the list, you may need to locate the files for use
in ACID. For more information, see Locating VST instruments for use in ACID on page 118.
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USING THE MIXER CHP. 8
4.
Select the Enable button ( ) to enable playback of the VST instrument.
5.
Modify the VST instrument settings as needed using the buttons in the Soft Synth Properties window:
Locating VST instruments for use in ACID
ACID designates a folder where you can store VST instrument files. However, if you have VST instrument
files elsewhere on your system, you can direct ACID to look for files in alternate locations.
1.
From the Options menu, choose Preferences. The Preferences dialog appears.
2.
Click the VST Instruments tab.
The Default VSTi search folder box shows the default location of VST instrument files for use in ACID.
VST instrument plug-ins located in this folder already appear in the Select VST instruments to be available as
soft synths box at the bottom of the dialog.
If the VST instrument you want to use appears in this box, select its check box. If the VST instrument
does not appear in the box, continue with the following steps to locate the instruments for use in ACID.
3.
Click the Browse button next to the Alternate VSTi search folder 1 box. The Browse for Folder dialog
appears.
4.
Browse to the location of your VST instrument files and click OK. ACID locates the VST instrument
plug-ins and displays them in the Select VST instruments to be available as soft synths box at the bottom of the
dialog.
5.
Repeat steps three and four for the Alternate VSTi search folder 2 box, if needed.
6.
In the Select VST instruments to be available as soft synths box, select the check boxes for the VST
instruments you want available in ACID.
7.
Click OK to close the Preferences dialog.
Note:
Once you add
a VSTi soft synth to a
project, the VST
instrument stays
locked until you close
ACID. When a VST instrument is locked, you cannot clear
its check box to make it unavailable in ACID.
Loads an instrument preset. Choose an
.fxp file to replace the current
instrument preset.
Opens an instrument bank. Choose an .fxb file to
replace the current instrument bank.
Saves the current instrument settings as
a new instrument preset.
Saves the current instrument settings as a new
instrument bank.
Locked VSTi
CHP. 8 USING THE MIXER
119
Using ACID with ReWire panel applications
ACID can act as a ReWire mixer application. After you enable a ReWire panel application to work within
ACID, you can insert it as a soft synth control in the mixer, and the soft synth bus connects ACID and the
ReWire device and carries the data back and forth between them. The applications share timeline and
cursor position data. ACID can mix or apply effects to your panel application’s audio data output and then
record the data.
Note:
The ReWire panel application data will not be
included in playback or rendering if the panel application is
not open.
Locating ReWire panel applications for use in ACID
If you have ReWire panel applications installed on your PC, you can select them for use as soft synth
controls.
1.
From the Options menu, choose Preferences. The Preferences dialog appears.
2.
Click the ReWire Devices tab.
All installed ReWire panel applications appear in the Select ReWire Device to be available as soft synths box
at the bottom of the dialog. To choose the ReWire panel application you want to use, select its check box.
3.
Click the OK button.
Inserting a ReWire panel application as a soft synth
You can insert a ReWire panel application as a soft synth on the mixer just as you would a DLS or VSTi
soft synth. For more information, see Adding soft synth controls to projects on page 116.
To synchronize ACID with your ReWire panel application and edit audio data at any time, double-click
the soft synth icon on a control ( ).
Opening a ReWire panel application
There are several ways to open a ReWire panel application for use with ACID:
•For ReWire 1.0 soft synths and ReWire 2.0 soft synths routed to a specific channel, double-click the soft
synth control icon on the Mixer ( ) or right-click the icon and choose Open ReWire Panel from the
shortcut menu.
•For ReWire 2.0 soft synths routed to the panel application’s master output, you can start the ReWire
panel application by double-clicking the soft synth control icon on the Mixer ( ) to display the Soft
Synth Properties window and then clicking the Open ReWire Panel Application button ( ). You can click
this button again to close the application when your editing is finished.
Note:
Select the Lock MIDI Port Configuration button
() to lock MIDI ports so ACID does not lose port
assignments due to dynamic changes from ReWire panels.
•If ACID is unable to start your ReWire panel application, you can start it manually.
Note:
For more information on working with your ReWire
panel application, please see the application’s documentation.
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USING THE MIXER CHP. 8
Deleting soft synth controls
Just as you can add soft synth controls to a project at any time, you can also delete superfluous soft synth
controls. When you delete a soft synth control from a project, tracks assigned to it are reassigned to the first
soft synth control in the Mixer window.
To delete a soft synth control, right-click the control in the mixer and choose Delete from the shortcut
menu, or select the control and press .
Routing MIDI tracks to soft synth controls
If your project contains multiple soft synth controls, you can assign each MIDI track to a specific soft synth
control. To assign a track to a soft synth control, click the Device Selection button ( ) on the track header
and choose the desired soft synth control from the menu. For more information, see Routing MIDI tracks to
MIDI devices or soft synth controls on page 149.
Using mixer controls
Although busses, assignable effects, and soft synth controls are used to accomplish different tasks, they have
many features in common. You can adjust fader levels, mute or solo audio, and apply effects on all mixer
controls. In addition, you can select multiple mixer controls to apply changes to several controls
simultaneously. You can also view mixer controls in track view in order to automate them.
Working with mixer controls
You can adjust, solo, and mute mixer controls independently.
Adjusting faders
You can adjust mixer control levels during playback and preview the results in real-time. In addition, the
stereo faders are split into two channels. This allows you to adjust the levels of the left and right channels
independently of one another. For more information, see Adjusting split faders in the mixer on page 52.
Assignable effect controls contain two distinct faders, each of which is split into two channels. The left fader
adjusts the level of the input signal entering the control, while the right fader adjusts the output level.
Changing meter resolution
You may specify the meter resolution at which mixer controls display their signal levels. When a mixer
control’s meter resolution is changed, all meters in the Mixer window automatically change to reflect the
new resolution setting. To change the meter resolution, right-click the meter and choose the desired
resolution from the shortcut menu.
Setting levels
When signals are routed through a mixer control, the signal levels may cause the meter to clip. If the meter
clips, the level is displayed in red at the top of the meter and the audio is distorted. You can lower the mixer
control level and click the red display to reset the meter. A better way to reduce clipping, however, is to
adjust the volume of each track.
Tip:
You can also reset the clip by right-clicking the meter and
choosing Reset Clip from the shortcut menu.
Delete
CHP. 8 USING THE MIXER
121
Muting mixer controls
Clicking the Mute button ( ) on a mixer control temporarily suspends playback of the control. When a
mixer control is muted, it appears grayed out and the word Muted appears at the bottom of the meter.
Clicking the Mute button a second time returns the mixer control to normal playback.
You can also press to mute a mixer control or group of controls.
Tip:
Press and click the Mute button to mute only the
selected mixer control (and restore any other muted
controls). If the selected mixer control is already muted, press
and click the Mute button to restore all controls.
Soloing mixer controls
Clicking the Solo button ( ) on a mixer control isolates playback by muting all other mixer controls. For
example, when you solo a bus, all remaining busses, assignable effects, and soft synths appear grayed out and
the word Muted appears at the bottom of their respective meters. Clicking the Solo button a second time
returns all mixer controls to normal playback.
You can also press to solo a mixer control or group of controls.
Tip:
Press and click the Solo button to solo only the
selected mixer control (and restore any other soloed controls).
If the selected mixer control is already soloed, press and
click the Solo button to restore all controls.
Adding effects to mixer controls
ACID allows you to add DirectX compatible plug-ins, either individually or as a chain, to a mixer control.
You can build plug-in chains from any DirectX compatible plug-ins installed on your system. You can add
plug-ins (individually or as pieces of a chain) to a mixer control at any time, and once you have added them,
you can reorder them, remove them, and combine them with additional plug-ins to achieve the desired
effect.
Adding a plug-in to a mixer control results in the track signals assigned to that control being processed by
the plug-in. However, plug-ins assigned at the track level are processed before plug-ins added at the mixer
level. For more information, see Using track effects on page 93.
Important:
Do not use time-altering effects (such as time
stretch, gapper/snipper, pitch-shift without preserving
duration, and some vibrato settings) with an ACID project.
Time-altering effects cause a track to play out of
synchronization with the waveform display in the track view
and with other tracks.
Z
Ctrl
Ctrl
X
Ctrl
Ctrl
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USING THE MIXER CHP. 8
Adding plug-in chains
1.
Click the FX button ( ) on the mixer control. The Plug-In Chooser dialog appears.
2.
Select the plug-ins that you want to add. The selected plug-ins appear in the chain area. There are three
ways to add a plug-in to the chain:
•Double-click the plug-in.
•Drag the plug-in to the chain area.
•Select the plug-in and click Add.
Tip:
If you have saved any plug-in chain packages, double-
click the Packaged Chains folder to view those packages. For
more information, see Saving plug-in chains as packages on
page 124.
3.
Click OK to close the Plug-In Chooser dialog. The Audio Plug-In window opens and displays the plug-in
chain.
4.
Click a specific plug-in and adjust the effect’s parameters manually, or choose one of the presets from the
Preset drop-down list. For more information about effect parameters, click the Plug-In Help button ( ) in
the Audio Plug-In window.
Tip:
You can save an effect’s parameters as a preset to be
used in other projects. To save a preset, enter a name in the
Preset box and click the Save Preset button ( ).
5.
Click the Close button ( )
to close the Audio Plug-In window.
Adding plug-ins to existing plug-in chains
1.
Click the FX button ( ) on the mixer control. The Audio Plug-In window appears.
2.
Click the Edit Chain button ( ). The Plug-In Chooser dialog appears.
3.
Add the desired plug-in(s) to the chain.
4.
Click OK to close the Plug-In Chooser dialog. The Audio Plug-In window opens and displays the plug-in
chain.
5.
Click a specific plug-in and adjust the effect’s parameters manually, or choose one of the presets from the
Preset drop-down list. For more information about effect parameters, click the Plug-In Help button ( ) in
the Audio Plug-In window.
6.
Click the Close button ( )
to close the Audio Plug-In window.
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Arranging plug-ins on plug-in chains
The effect of plug-ins placed on a chain is cumulative. For example, when a signal passes through a plug-in,
it carries those settings through the next plug-in, and carries both settings through the next plug-in, and so
on. Because of this cumulative effect, you may need to rearrange the plug-ins on the chain so that one plug-
in’s processing does not adversely affect the next one in the chain.
There is no right or wrong way to order plug-ins, and the chain’s plug-in order is strictly based on your
preferences and desired output. However, certain plug-ins function better at specific points in the chain. For
example, the dither plug-in typically works best as the last plug-in on a chain.
1.
Click the FX button ( ) on the mixer control. The Audio Plug-In window appears.
2.
There are two ways to arrange plug-ins in your chain:
•Drag the plug-in to a new location in the chain.
•Right-click the plug-in and select Move Left or Move Right from the shortcut menu.
3.
Click the Close button ( ) to close the Audio Plug-In window.
Bypassing plug-ins on plug-in chains
You can bypass a plug-in without removing it from the chain by clearing the check box on the plug-in.
Alternately, right-click the plug-in and choose Bypass from the shortcut menu.
Tip:
To bypass (or re-enable) all plug-ins in a chain, right-
click the FX button ( ) on the mixer control and choose
Bypass All or Enable All.
Removing plug-ins from chains
You can remove a plug-in from a chain at any time.
1.
Click the FX button ( ) on the mixer control. The Audio Plug-In window appears.
2.
Right-click the plug-in and choose Remove from the shortcut menu, or click the Remove Selected Plug-In
button ( ).
3.
Click the Close button ( )
to close the Audio Plug-In window.
Plug-in chain
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USING THE MIXER CHP. 8
Removing or bypassing all effects on a mixer control
You can clear a mixer control of all effects by right-clicking the FX button ( ) and choosing Delete All from
the shortcut menu.
You can bypass the effects on a mixer control without removing them by right-clicking the FX button ( )
and choosing Bypass All from the shortcut menu. To apply them again, right-click the FX button and choose
Enable All from the shortcut menu.
Saving plug-in chains as packages
ACID allows you to save plug-in chains as packages so that you may re-use them in other projects. If you use
a combination of plug-ins often, saving them as a package saves you time. Effect packages retain their chain
order and individual plug-in settings.
You may save plug-in chains as packages from existing plug-in chains or in the Plug-In Chooser dialog during
the actual creation of the chain. The plug-in chains that you save as packages appear in the Plug-In Chooser
dialog in the Packaged Chains folder.
1.
Click the FX button ( ) on the mixer control. The Plug-In Chooser dialog appears if a plug-in chain does
not already exist.
To save an existing chain, click the FX button ( ) to open the Audio Plug-In window and skip to step
four.
2.
Add and arrange plug-ins to create a plug-in chain and click OK.
3.
In the Audio Plug-In window, adjust the settings for each plug-in to achieve the effect you want. For more
information about effect parameters, click the Plug-In Help button ( ) in the Audio Plug-In window.
4.
Click the Save Chain Preset button ( ). The Save Plug-In Package dialog appears.
5.
Enter a name for the package.
6.
Click OK to save the plug-in chain as an effect package.
Organizing your plug-ins
ACID allows you to create folders for organizing your plug-ins within the Plug-In Chooser dialog. You will
notice that the Plug-In Chooser dialog functions similarly to Windows Explorer. However, the Plug-In
Chooser dialog only allows you to work with plug-ins installed on your system.
Using the Preset Manager
Once you have created custom presets for effects or effect chains, you can use the Preset Manager to back up,
transfer, or delete custom presets from any of the plug-ins you use in ACID. The Preset Manager is a
standalone application that you can use to manage ACID, Sound Forge, and Vegas presets.
You can install the Preset Manager from the ACID CD. After you install the application, choose Contents
and Index from the Help menu in the Preset Manager for instructions on how to manage your presets.
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125
Working with multiple mixer controls
When you select multiple busses, assignable effect controls, or soft synth controls in the mixer, you can
simultaneously perform functions on the controls. These functions include the following:
•Change bus or hardware routing
•Mute/solo bus or control
•Delete bus or control
•Change fader level
You can select multiple, nonadjacent controls by holding the key while clicking each control’s name.
You can select multiple, adjacent controls by clicking the first control and holding the key while
clicking the last control in the range.
Note:
You cannot group the Preview fader in this manner
with other mixer controls.
Automating mixer controls in track view
You can automate bus, assignable effect, and soft synth controls in track view. ACID allows you to view each
of these controls on tracks at the bottom of track view and to add envelopes to automate functions such as
volume, pan, and assignable effect chain input/output levels. You can also add envelopes to automate effect
parameters for plug-ins that support automation. For more information, see Adding effect automation envelopes
on page 98.
For creative ways to use bus automation, see Fading in and out of mixes on page 190.
Viewing bus tracks
From the View menu, choose Show Bus Tracks or press . The bus tracks appear at the bottom of the track
view. A bus track appears for each mixer control in your project.
Adding track envelopes
Right-click the track header in the track list, choose Insert/Remove Envelope from the shortcut menu, and
choose the appropriate envelope type from the submenu.
You can identify which mixer controls have envelopes by looking at each control’s letter or number. An
automated mixer control has a small fader icon on its letter or number in the Mixer window.
Modifying track envelopes
You can modify a track envelope for a bus, assignable effect, or soft synth in the same way you do with any
other track. For more information, see Using track envelopes on page 97.
Ctrl
Shift
U
Bus with
automation
Bus without
automation
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9
CHP. 9 RECORDING IN ACID
CHAPTER
127
Recording in ACID
ACID is a loop-based audio-production tool. It is not designed for multi-track recording projects. However,
the application does allow you to record audio from your system’s sound card. This limited recording
capability makes it possible for you to record audio or MIDI from an external source and place it in your
project.
This feature actually makes ACID an excellent tool for recording song demos. You can build a backing track
of the appropriate length and tempo using a variety of loops and combine the backing track with a one-shot
vocal or guitar track that you record.
Note:
Recording MIDI is covered in greater depth in
Recording MIDI tracks on page 131.
Recording audio
If you are familiar with other Sonic Foundry applications, recording in ACID should be fairly intuitive. The
following procedure briefly outlines the steps involved in recording audio.
1.
Connect the audio source or MIDI device to your computer.
2.
For audio recording, verify that the card is properly configured for the audio source (microphone, line
level, etc.).
3.
Place the cursor in the track view at the position where recording will begin. To record multiple takes,
create a loop region instead. For more information, see Recording multiple takes on page 130.
4.
Click the Record button ( ) on the transport bar. The Record dialog appears.
5.
Set the desired recording properties. For more information, see Setting ACID’s recording properties on page
128.
6.
Set the recording level. For more information, see Setting recording levels on page 129.
9
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RECORDING IN ACID CHP. 9
7.
Click Start to begin recording. ACID creates a new track in the project and begins to record the incoming
audio signal into it.
8.
Click Stop to end recording.
The recorded audio is placed on its track as a Beatmapped file and can now be manipulated at the track or
event level, like any other file in the project.
ACID adds regions to mark each measure in the recording. You can view the regions in the Track Properties
window. These regions can be useful when creating loops from your recordings in ACID or Sound Forge.
Setting ACID’s recording properties
Prior to recording in ACID, you must configure the application’s recording properties in the Record dialog.
This ensures that you are recording through the appropriate device with the desired attributes, and that you
are storing the recorded file in the appropriate folder.
Record type
Use these radio buttons to specify the type of recording you are about to make.
File name
This box allows you to name the recorded file prior to actually recording it. If you do not specify a name,
ACID provides the default name “Record Take” and appends a unique number to identify it. ACID saves
recorded audio as a WAV file and saves MIDI as a MID file.
Record folder
This box displays the path to the folder where recorded files are stored. If you want to specify an alternate
location, click Browse and specify the new folder.
Free space
This value indicates the amount of available free space in the current record folder.
Time recorded
This value provides you with a running summary of the length and size (in megabytes) of the audio currently
being recorded.
Record from
By default, ACID begins recording at the cursor position when you click the Record button ( ). However,
you can use the Record from radio buttons to specify an alternate starting point for recording.
•Selecting the Start of project radio button configures ACID to start recording at the beginning of the
current project.
•Selecting the Position radio button allows you to enter the recording start position in measures and beats
format.
Make new track follow project tempo
Selecting this check box configures ACID to use its stretching features to expand/contract your recording in
relation to the project tempo. However, if you are recording your audio track at the final project tempo, you
should clear this check box to allow ACID to treat the recorded file as a one-shot.
Record device
This drop-down list allows you to choose the hardware device and channel that ACID uses to record your
audio.
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If you chose Microsoft Sound Mapper in the Audio device type drop-down list in the Preferences dialog, you
cannot choose a specific device. Choose a device other than the Sound Mapper to specify hardware devices.
For more information, see Using the Audio tab on page 181.
When recording MIDI, you can choose a device from the MIDI Thru drop-down list to provide MIDI playback
as you record. For more information, see Recording MIDI tracks on page 131.
Attributes and the Change button
The Attributes values display the recording sample rate and bit depth. Sample rate is the number of samples
per second, measured in Hertz (Hz), used to record audio. You can change the sample rate or bit depth by
clicking the Change button, which displays the Audio tab of the Project Properties dialog. For more
information, see Using the Audio tab on page 34.
Note:
Attributes and the Change button do not apply when
recording MIDI.
Monitor
Selecting this check box turns on the record meters, which display the incoming audio level for the specified
recording device.
Setting recording levels
When recording audio, it is important to record with the highest possible signal without clipping. Clipping
occurs when the incoming signal is too high to be represented as a digital value and is indicated visually by a
red clip warning at the top of the meters. The aural result of clipping is distortion. Be assured that digital
clipping distortion is very different from analog clipping distortion. The saturation level of analog tape is
non-exact and pushing the levels into the red often create a nice overdriven effect. However, the saturation
point of digital recording is exactly 0 dB and levels surpassing that result in ugly digital distortion that can
easily ruin a project.
1.
Connect the audio source to the sound card’s input and verify that the card is properly configured for the
audio source (microphone, line level, etc.).
2.
Click the Record button ( ) and set the desired recording properties. For more information, see Setting
ACID’s recording properties on page 128.
3.
Select the Monitor check box. Incoming audio levels appear on the record meters and the peak signal level
appears (in decibels) at the top of the meters. Keep in mind that a meter reading of 0 dB is the maximum
for a digital signal and any signal that surpasses that level will distort.
4.
Continue adjusting the input level of the source audio until maximum levels are achieved without
clipping.
If the meter clips, decrease the source audio level and click the numbers at the top of the meter. The peak
is reset and a new peak reading is calculated. Continue adjusting the levels and resetting the meter until
the level is maximized.
Note:
Setting digital recording levels can be difficult. If you
are not familiar with the source audio and have only one
opportunity to capture the recording, allow yourself plenty of
headroom.
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RECORDING IN ACID CHP. 9
Recording multiple takes
Using the Loop Playback button ( ) in conjunction with the record feature allows you to record multiple
takes into an ACID project. All takes are recorded into the same track and saved as one WAV file.
However, ACID delineates each take by creating a region that is saved with the recorded media file. To view
the regions, open the recorded track’s properties.
1.
Create a loop region for the part of the project you want to play while recording your take.
2.
Verify that the Loop Playback button ( ) is selected.
3.
Begin recording. ACID plays back the specified loop region while recording your takes on a new track.
Reviewing and saving takes
After you have recorded all your takes, you can review them and save only the best take.
1.
Click Cancel to close the Record dialog.
2.
Click the Solo button ( ) on the track you just recorded.
3.
Click the Play From Start button ( ) and review all takes.
4.
Create a time selection containing the take you want to keep.
5.
From the Tools menu, choose Render to New Track. The Render to New Track dialog appears.
6.
Enter a name for the new file in the File name box and click Save. ACID saves the take to a new file and
creates a new track for it.
7.
Delete the track containing the original takes.
Loop region
10
CHP. 10 WORKING WITH MIDI
CHAPTER
131
Working with MIDI
ACID allows you to record MIDI tracks and, through support for Yamaha’s Open Plug-in Technology
(OPT), edit MIDI in your projects. ACID provides two native OPT plug-ins: the piano roll editor and the
list editor. You can also use ACID to render projects with MIDI tracks, play MIDI from an external device,
and synchronize to MIDI timecode (MTC).
Adding MIDI tracks
You can add MIDI files to your project or create new MIDI files from scratch. MIDI tracks display with the
MIDI icon ( ) in the track list. You can use MIDI tracks to record and play back data from synthesizers
and other MIDI-compliant equipment. MIDI tracks can use MID, SMF, and RMI files.
Adding MIDI files
You can add existing MIDI files to your project just as you would add other files. Simply add the file to the
project and use the Draw ( ) tool or Paint ( ) tool to add events to the track that ACID creates for you.
Creating new MIDI files
You can insert a new blank MIDI track into your project by choosing MIDI Track from the Insert menu. Once
you’ve added the track, you can use an OPT plug-in (such as the piano roll editor or list editor) to create or
step record MIDI.
Recording MIDI tracks
The Record dialog allows you to record audio or MIDI tracks. For more information, see Recording in ACID on
page 127.
1.
Click the Record button ( ) on the transport bar. The Record dialog appears.
2.
Select the MIDI radio button in the line labeled Record type.
3.
In the Record device drop-down list, choose the MIDI device from which you will record.
Note:
If the device from which you want to record does not
appear in the list, you may need to enable the device in the
MIDI tab of the Preferences dialog. For more information, see
Using the MIDI tab on page 182.
4.
From the MIDI Thru drop-down list, choose the output device or soft synth control to use for monitoring
the incoming MIDI. This allows you to hear the MIDI input as you record.
5.
In the File name box, enter a name for the recorded file.
10
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WORKING WITH MIDI CHP. 10
6.
If necessary, click Browse and select a location for ACID to save the recorded file.
7.
Complete the remainder of the Record dialog as needed. For more information, see Setting ACID’s recording
properties on page 128.
8.
Click Start to begin recording.
9.
When you have finished, click Stop to end recording.
ACID saves the recorded MIDI file with the name and location you selected and adds a new MIDI track
to the project. You can paint the recorded MIDI on the new MIDI track.
Tip:
You can also record MIDI using the step recording
feature of the list editor plug-in. For more information, see
Step recording events on page 145.
Changing MIDI track properties
The General tab of the Track Properties window allows you to pitch-shift or set a root note for a MIDI file in
the same way you can with a loop or Beatmapped file. In addition, the General tab allows you to add, delete,
and work with the tracks within the MIDI file. You can mute, solo, rename, and change channel, volume or
pan settings for individual tracks in a MIDI file.
Pitch shifting MIDI tracks
You can change the pitch of all events on a MIDI track.
1.
Double-click the MIDI icon ( ) on the track header to open the Track Properties window.
2.
On the General tab, enter a value in the Pitch shift box (or use the spinner control) to adjust the pitch of all
events on the track.
Setting root notes for MIDI tracks
Choose a root note from the Root note drop-down list to set the base note for tracks that you want to conform
to the project key. Otherwise, choose Don’t transpose.
CHP. 10 WORKING WITH MIDI
133
Working with tracks in a MIDI file
Within the MIDI file, you can add new tracks or delete existing tracks. You can also mute, solo, change
settings, and rename tracks. If you want, you can save the changes you make in ACID to the original MIDI
file. For more information, see Saving, reloading, or replacing MIDI files on page 148.
Viewing track and channel information
The General tab of the Track Properties window displays information about the tracks and channels in a
MIDI file.
•In an SMF (standard MIDI file) type 0 file, all MIDI data is saved to a single track. Each channel within
the single track displays as a separate track in the Track Properties window.
•An SMF type 1 file can save MIDI tracks separately, and these tracks are displayed in the Track Properties
window. If a track sends data to more than one channel, the Channel column for that track displays a
dash (-). You can use the list editor to locate and view channel messages. For more information, see Filtering
the list on page 141.
Adding and deleting tracks
Click the Add New Track button ( ) to add a new track to the MIDI file. Select a track and click the Delete
Tr a ck button ( ) to remove a track.
Renaming tracks
1.
Double-click a track name and type a new name.
2.
Press to rename the track.
Editing channel information (channelization)
1.
Double-click the number in the Channel column for a track.
2.
Type a new channel number in the box.
3.
Press . All MIDI messages are sent to the new channel.
Note:
After you’ve edited the channel for a multichannel
track, channel information cannot be edited in the list editor.
To revert to the previous channelization and enable channel
editing in the list editor, enter -1 in the Channel column. For
more information, see Using the list editor on page 140.
Muting and soloing tracks
To mute or solo a track within a MIDI file, click the Mute () or Solo ( ) button for the track.
Changing track volume and pan
Drag the volume or pan sliders to adjust volume or panning for a track in a MIDI file. The adjustment you
make adds a bias to the original volume or pan setting in the MIDI file. For example, if a track has a volume
setting of 50 and you set the volume slider to 20, the resulting track plays at 70.
Enter
Enter
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WORKING WITH MIDI CHP. 10
Be aware of the following as you change track volume and panning:
•The volume slider settings are added to the track volume and any volume information in the MIDI file.
This allows you to manipulate the volume of the track and still maintain volume controller information
that may be present in the file. The overall volume of the MIDI track, however, is bound at 0 and 127.
•Volume and panning settings are not saved in the MIDI file, but are saved in the ACID project file. When
you click the Reload button ( ) to reload the MIDI file, the volume and panning settings do not
reset but are retained. For more information, see Saving, reloading, or replacing MIDI files on page 148.
Previewing MIDI files
You can play your MIDI file to test out your changes before leaving the General tab. Use the buttons on the
transport bar at the bottom of the window to control MIDI playback.
Tip:
To control volume during playback in the General tab,
drag the Preview fader in the Mixer window.
Chasing MIDI events during playback
When playback loops or begins at a point other than the beginning of the MIDI file, ACID can
automatically chase (update) controller, SysEx, and patch changes to ensure correct playback.
1.
Click the Chase Filter button ( ) to display the Chase Event Filter dialog.
2.
Select the check box for each event type that you do not want to chase during playback. Clear a check
box to chase events of that type.
3.
Click OK to close the Chase Event Filter dialog.
Filtering MIDI events during playback
You can choose to filter out certain event types when you play MIDI from the General tab.
1.
Click the Playback Filter button ( ) to display the MIDI Event Filter dialog.
2.
Select the check box for each event type that you want to exclude during playback. Clear a check box to
include events of that type.
3.
Click OK to close the MIDI Event Filter dialog.
Using the piano roll editor
The Piano Roll Editor tab on the Track Properties window allows you to view and edit a MIDI file.
The top pane of the piano roll editor displays MIDI information in the manner of a piano roll for a player
piano. Each note is represented by a rectangular note event of a certain length and pitch. The piano keys
along the left side of the window indicate the pitch of a note event. The beat ruler across the top of the
window shows the length and location of a note event.
The lower pane of the piano roll editor displays velocity information for each note event. A transport bar for
previewing MIDI appears at the bottom of the window.
CHP. 10 WORKING WITH MIDI
135
Viewing the piano roll editor
1.
Double-click the MIDI icon ( ) on the track header to open the Track Properties window.
2.
Click the Piano Roll Editor tab. The piano roll editor appears.
Previewing MIDI
You can preview the entire MIDI file, a loop selection, or single notes using the piano roll editor.
Tip:
To control volume during playback in the piano roll
editor, drag the Preview fader in the Mixer window.
Previewing the MIDI file
Use the transport bar buttons at the bottom of the piano roll editor to play your MIDI.
Tip:
You can use the Solo button ( ) to solo a particular
MIDI track during preview playback.
Previewing a selection in looped playback
You can preview a selection in looped playback just as you would in the main ACID window.
1.
Drag the handles of the loop bar in the piano roll editor to create the desired loop region.
2.
Click the Loop Playback button ( ) to turn on looped playback.
3.
Click the transport bar’s Play button ( ) or press . The piano roll editor loops the playback of the
selected area. To stop playback, click the transport bar’s Stop button ( ) or press .
Pitch and length
Velocity
Transport barMiddle C
Space
Space
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WORKING WITH MIDI CHP. 10
Previewing notes
Before you paint a note, you can click a key on the keyboard to preview its sound. You can also preview notes
as you draw, paint, or select them.
1.
Select the Enable Real-Time MIDI button ( ) at the top of the Track Properties window.
2.
In the piano roll editor, click the Monitor button ( ) to turn on the note monitor.
3.
Click any key in the keyboard. The note plays back.
The piano roll editor also plays notes when you add them using the Draw ( ) or Paint ( ) tools or
select them using the Draw tool. For more information, see Adding note events on page 136 and Selecting note
events on page 138.
Selecting MIDI tracks
As you view, add, or edit MIDI note events, you must first select a track within the MIDI file to work with.
Choose a track from the Tr a ck drop-down list to work with that track.
Adding note events
You can add note events using the Draw tool ( ) or the Paint tool ( ) in the same way you do in the
main ACID window.
Tip:
As you drag to create new events, the event edge snaps
to the divisions on the beat ruler. To snap to smaller divisions,
click the Zoom In Time button ( ) at the bottom of the
window to zoom in more tightly. Or, to turn off snapping
altogether, click the Enable Snapping button ( ) to toggle it
off.
You can choose to hear the notes as you add them. For more information, see Previewing notes on page 136.
Drawing note events
The Draw tool limits you to drawing one pitch at a time. In other words, you cannot drag up and down with
the Draw tool to draw note events across several pitches at once.
1.
Click the Draw Tool button ( ). The Draw tool is selected.
2.
Drag in the row for the pitch you wish to create. A new note event appears as you drag.
Painting note events
Unlike the Draw tool, the Paint tool allows you to create note events across multiple pitches with a single
drag of the mouse. The Paint tool also allows you to select the note length you want to paint.
1.
Click the arrow adjacent to the Paint Tool button ( ) and choose a note length to paint from the menu.
2.
Click the Paint Tool button ( ). The Paint tool is selected.
3.
Drag to create new note events. The new events appear as you drag.
CHP. 10 WORKING WITH MIDI
137
Editing note events
You can change the length or pitch of a note event using the Draw tool. You can also cut, copy, and paste
events in the same way you do in the main ACID window.
Changing pitch
With the Draw tool ( ) selected, drag a note event to a new row.
Changing length
With the Draw tool ( ) selected, drag the edge of a note event to a new location.
Tip:
As you drag the edge of a note event, the event edge
snaps to the divisions on the beat ruler. To snap to smaller
divisions, click the Zoom In Time button ( ) at the bottom of
the window to zoom in more tightly. Or, to turn off snapping
altogether, click the Enable Snapping button ( ) to toggle it
off.
Specifying a velocity value for notes
To enter a specific velocity value, right-click a note event in the piano roll, choose Velocity from the
shortcut menu, and choose the appropriate command from the submenu.
Changing velocity data
1.
In the lower-left corner of the Piano Roll Editor tab, click the drop-down arrow and choose Velocity from
the menu.
2.
In the area at the bottom of the Piano Roll Editor tab, drag the top of a velocity bar up or down to change
the velocity value. You can also drag across multiple bars to change their values at the same time.
Command Description
Set to Maximum Sets the velocity to 127.
Set to Default Sets the velocity to 64.
Set to Minimum Sets the velocity to 0.
Set to... Allows you to enter a custom velocity
value.
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WORKING WITH MIDI CHP. 10
Setting pitch bend
1.
In the lower-left corner of the Piano Roll Editor tab, click the drop-down arrow and choose Pitch Bend from
the menu.
2.
In the area at the bottom of the Piano Roll Editor tab, drag to draw your pitch bend curve. To erase a curve,
right-click and drag.
Changing continuous controller information
1.
In the lower-left corner of the Piano Roll Editor tab, click the drop-down arrow, choose All Continuous
Controllers from the menu, and choose a controller from the submenu.
2.
In the area at the bottom of the Piano Roll Editor tab, drag to draw your controller information.
Selecting note events
With the Draw tool selected, you can select individual note events by clicking them. You can also use one of
several methods to select multiple events:
•With the Draw tool selected, press or while clicking note events. Pressing allows you to
select the first and last note events of a range in order to select all notes in between, while pressing
allows you to select non-contiguous note events.
•Click the Selection Tool button ( ) and drag across note events you wish to select.
•Press to select all note events on a track.
Moving note events
After you select note events, you can drag them to new positions.
Tip:
Press while dragging note events to restrict your
movement to vertical (change pitch) or horizontal (change
location in time).
Using cut, copy, and paste
After you select note events, you can click the Cut () or Copy ( ) buttons to cut or copy the events. You
can then position the cursor in a new location and click the Paste button ( ) to paste the events. Note
events are always pasted at the same pitch as the original note event.
Ctrl Shift Shift
Ctrl
Ctrl +A
Alt
CHP. 10 WORKING WITH MIDI
139
Quantizing note events
You can use the MIDI Quantize dialog to force notes to align with musical beats based on the parameters you
specify.
1.
Select the notes you want to quantize. For more information, see Selecting note events on page 138.
2.
Click the Quantize button ( ). The MIDI Quantize dialog appears.
3.
From the Quantize resolution drop-down list, choose the beat to which you want the selected notes to be
quantized.
4.
Select the Start times check box to snap start times to the beat selected in the Quantize resolution drop-
down list.
5.
Select the Note durations check box to snap note durations to the beat selected in the Quantize resolution
drop-down list.
6.
Click Apply.
Deleting note events
Use the Erase tool ( ) to erase events in the piano roll. Alternately, you can select events and press .
For more information, see Selecting note events on page 138.
Undoing and redoing
You can easily undo and redo actions in the piano roll editor by using keyboard shortcuts. Press to
undo an action, and press to redo an action.
Saving MIDI
When you create or edit MIDI in the piano roll editor, ACID saves the MIDI information in the project, but
does not save the information to a MIDI file. You can save the MIDI information to a MIDI file by clicking
the Save File button ( ). For more information, see Saving, reloading, or replacing MIDI files on page 148.
Delete
Ctrl +Z
Ctrl +Shift+Z
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WORKING WITH MIDI CHP. 10
Using the list editor
The List Editor tab on the Track Properties window allows you to view and edit all MIDI data using ACID’s
list editor plug-in. The list editor displays each event in your MIDI file as a row in a table. The columns in
the table contain information on each event’s parameters.
Viewing the list editor
1.
Double-click the MIDI icon ( ) on the track header to open the Track Properties window.
2.
Click the List Editor tab. The list editor appears.
Previewing MIDI
You can preview individual events or the MIDI file as a whole within the list editor.
Tip:
To control volume during playback in the list editor,
drag the Preview fader in the Mixer window.
Previewing the MIDI file
Use the transport bar at the bottom of the list editor to preview your MIDI. As you preview, the list editor
highlights the current note being played.
Previewing a selection in looped playback
You can preview a selection in looped playback just as you would in the main ACID window.
1.
Click the Loop Playback button ( ) to turn on looped playback.
2.
Define the loop region:
•Select the event where you want the loop to start and click the Mark Loop Start button ( ).
•Select the event where you want the loop to end and click the Mark Loop End button ( ).
The loop boxes in the lower-right corner of the window display the loop start, loop end, and loop length
values.
3.
Select the event where you want to begin playback and click the transport bar’s Play button ( ) or press
. The piano roll editor begins playback and loops the marked selection. To stop playback, click the
transport bar’s Stop button ( ) or press .
Transport bar
Toolbar
Events
Loop boxes
Space
Space
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Previewing events
You can preview individual note events within the MIDI file.
1.
Select the Enable Real-Time MIDI button ( ) at the top of the Track Properties window.
2.
In the list editor, click the Monitor button ( ) to turn on the event monitor.
3.
Click anywhere in an event row to play the event.
Filtering the list
A MIDI file can contain a dizzying number of individual events. You can speed the task of locating events in
the list editor by applying a filter. You can filter what the list editor displays either by track or by event type.
Filtering the list by track
Choose a track from the Tra ck drop-down list to view only the events for that track.
Filtering the list by event type
1.
Click the Filter button ( ). The MIDI Event Filter dialog appears.
2.
Select the check box for an event type to hide that type, or clear the check box to display that event type.
3.
Click OK. The list is filtered according to the criteria you selected.
Editing events
Once you have located a particular event, you can edit the parameters of the event as needed.
1.
Click in the event row you want to edit.
2.
Click the Edit Event button ( ). The Edit MIDI Event dialog appears.
Tip:
You can also double-click an event’s Message
parameter to open the Edit Event dialog.
3.
Edit the values in the dialog. For more information, see Event parameters on page 142.
4.
Click OK. The event updates to the new values.
Tip:
You can edit individual parameters in columns other
than Message by double-clicking the parameter and entering
a new value.
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Event parameters
The table below describes the editable event parameters for different event types.
Event type Editable parameter Description
After Touch Start Time Time (in measures.beats.ticks) where you want the event to begin.
Channel MIDI channel (1-16) where you want to send the event.
Pressure Amount of vibrato (0-127) you want to apply to each voice on the channel.
Control Change Start Time Time (in measures.beats.ticks) where you want the event to begin.
Channel MIDI channel (1-16) where you want to send the event.
Controller Change Number Displays the number of the current controller change type. Choose a
controller change type from the drop-down list to the right of the Event
type drop-down.
Controller Change Value Controller value.
Meta Start Time Time (in measures.beats.ticks) where you want the event to begin.
Meta Event Type Type of meta event that you want to add. Choose a meta event type from the
drop-down list to the right of the Event type drop-down.
Meta Event Parameter Value that you want to send for the meta event. The parameter type varies
depending on the selected meta event type.
For example, when you choose Text Event from the Meta Event Type
drop-down list, a Meta text box displays for you to enter your parameter.
Note Start Time Time (in measures.beats.ticks) where you want the event to begin.
Channel MIDI channel (1-16) where you want to send the event.
Note Numeric value of the note you want to play.
For more information, see MIDI
notes and frequencies on page 144
.
On Velocity Speed of the note’s attack (0-127). Low values produce a soft attack; high
values produce a strong attack.
Off Velocity Speed of the note's release (0-127). Low values produce a soft release; high
values produce a staccato release.
Duration Length of the note’s sustain in measures.beats.ticks.
Packed NRPN* Start Time Time (in measures.beats.ticks) where you want the event to begin.
Channel MIDI channel (1-16) where you want to send the event.
NRP MSB Parameter’s most significant byte.
NRP LSB Parameter’s least significant byte.
Data MSB Value for the most significant byte.
Data LSB Value for the least significant byte.
Packed RPN** Start Time Time (in measures.beats.ticks) where you want the event to begin.
Channel MIDI channel (1-16) where you want to send the event.
NRP MSB Parameter’s most significant byte.
NRP LSB Parameter’s least significant byte.
Data MSB Value for the most significant byte.
Data LSB Value for the least significant byte.
Patch Start Time Time (in measures.beats.ticks) where you want the event to begin.
Channel MIDI channel (1-16) where you want to send the event.
Bank LSB Least significant byte value for the bank.
Bank MSB Most significant byte value for the bank.
Patch Number of the patch you want to play.
Pitch Bend Start Time Time (in measures.beats.ticks) where you want the event to begin.
Pitch +/- Number of cents by which you want to bend the pitch.
Poly Pressure Start Time Time (in measures.beats.ticks) where you want the event to begin.
Channel MIDI channel (1-16) where you want to send the event.
Note Note to which you want to apply pressure.
Pressure Pressure (0-127) you want to apply to the note. Most devices will apply more
vibrato to a note as the pressure increases.
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Program Change Start Time Time (in measures.beats.ticks) where you want the event to begin.
Channel MIDI channel (1-16) where you want to send the event.
Patch Number of the new patch you want to play.
* Packed nonregistered parameter numbers (NRPN) are used to adjust settings such as vibrato and filtering, but are not part of the
General MIDI specification. Refer to your MIDI device’s documentation for more information about the required parameters.
** Packed registered parameter numbers (RPN) are used to adjust common settings such as pitch wheel range.
Event type Editable parameter Description
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MIDI notes and frequencies
The following table shows the musical pitch and frequency associated with each MIDI note.
A5 is 440 Hz, and middle C is C5 at 261.63 Hz. These values can differ, often by one octave, from values
used by other manufacturers. The following frequencies are based on equal temperament tuning.
Pitch MIDI Key Frequency Pitch MIDI Key Frequency Pitch MIDI Key Frequency
C 0 0 8.176 G 3 43 97.998 D 7 86 1174.7
C#-0 1 8.662 G#3 44 103.82 D#7 87 1244.5
D 0 2 9.177 A 3 45 110.00 E 7 88 1318.5
D#0 3 9.723 A#3 46 116.54 F 7 89 1396.9
E 0 4 10.301 B 3 47 123.47 F# 7 90 1480.0
F 0 5 10.913 C 4 48 130.81 G 7 91 1568.0
F# 0 6 11.562 C#4 49 138.59 G#7 92 1661.2
G 0 7 12.250 D 4 50 146.83 A 7 93 1760.0
G#0 8 12.978 D#4 51 155.56 A#7 94 1864.7
A 0 9 13.750 E 4 52 164.81 B 7 95 1975.5
A#0 10 14.568 F 4 53 174.61 C 8 96 2093.0
B 0 11 15.434 F# 4 54 184.99 C#8 97 2217.5
C 1 12 16.352 G 4 55 195.99 D 8 98 2349.3
C#1 13 17.324 G#4 56 207.65 D#8 99 2489.0
D 1 14 18.354 A 4 57 220.00 E 8 100 2637.0
D#1 15 19.445 A#4 58 233.08 F 8 101 2793.8
E 1 16 20.601 B 4 59 246.94 F# 8 102 2960.0
F 1 17 21.826 C 5 60 261.63 G 8 103 3136.0
F# 1 18 23.124 C#5 61 277.18 G#8 104 3322.4
G 1 19 24.499 D 5 62 293.66 A 8 105 3520.0
G#1 20 25.956 D#5 63 311.13 A#8 106 3729.3
A 1 21 27.500 E 5 64 329.63 B 8 107 3951.1
A#1 22 29.135 F 5 65 349.23 C 9 108 4186.0
B 1 23 30.867 F# 5 66 369.99 C#9 109 4434.9
C 2 24 32.703 G 5 67 391.99 D 9 110 4698.6
C#2 25 34.648 G#5 68 415.31 D#9 111 4978.0
D 2 26 36.708 A 5 69 440.00 E 9 112 5274.0
D#2 27 38.890 A#5 70 466.16 F 9 113 5587.7
E 2 28 41.203 B 5 71 439.88 F# 9 114 5919.9
F 2 29 43.653 C 6 72 523.25 G 9 115 6271.9
F# 2 30 46.249 C#6 73 554.37 G#9 116 6644.9
G 2 31 48.999 D 6 74 587.33 A 9 117 7040.0
G#2 32 51.913 D#6 75 622.25 A#9 118 7458.6
A 2 33 55.000 E 6 76 659.26 B 9 119 7902.1
A#2 34 58.270 F 6 77 698.46 C 10 120 8372.0
B 2 35 61.735 F# 6 78 739.99 C#10 121 8869.8
C 3 36 65.406 G 6 79 783.99 D 10 122 9397.3
C#3 37 69.295 G#6 80 830.61 D#10 123 9956.1
D 3 38 73.416 A 6 81 880.00 E 10 124 10548.1
D#3 39 77.781 A#6 82 932.32 F 10 125 11175.3
E 3 40 82.406 B 6 83 987.77 F# 10 126 11839.8
F 3 41 87.307 C 7 84 1046.5 G 10 127 12543.9
F# 3 42 92.499 C#7 85 1108.7
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Creating events
In addition to editing existing events, you can also create new events.
1.
Click the Insert Event button ( ). The Insert MIDI Event dialog appears.
2.
Choose a track from the Tra ck drop-down list.
3.
Choose an event type from the Event type drop-down list.
4.
Enter a start time in the Start time box.
5.
Enter values for the remaining event parameters.
6.
Click Insert. The new event is inserted at the designated start time.
Step recording events
In step recording, you can record MIDI without worrying about tempo or rhythm. Simply record the MIDI
note by note, entering event parameter values as you go.
If you have a MIDI keyboard or other device connected to your system, you can input notes using the device.
For more information, see Adding external devices as MIDI inputs on page 150.
1.
Click the Step Recording button ( ) on the transport bar at the bottom of the window. The MIDI Step
Recording dialog appears.
2.
Choose a track from the Tr a ck drop-down list.
3.
If you will input MIDI from an external device, choose a device from the Input port drop-down list.
Note:
You must make a MIDI port available as an input
device in the Preferences dialog in order to use it for step
recording. For more information, see Using the MIDI tab on
page 182.
4.
Choose the total duration from the start of one note to the start of the next from the Step size drop-down
list.
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5.
Choose the length of an individual note from the Duration drop-down list.
Note:
When you choose a duration longer than the step size,
ACID overlaps the note with the note in the next step.
6.
Input the MIDI using an external device, or specify settings for each note you want to record:
•In the Start time box, enter the point at which you want to start recording.
•Select the Auto advance on insert and record check box if you want to automatically increase the Start time
setting by the current step size each time you click Insert or play a note on a MIDI input device. Clear
the check box to adjust the Start time manually (when creating chords, for example).
•In the Channel box, enter the MIDI channel you want to play the note.
•In the Note box, enter the note you want to play. You can enter the note as a numeric value (69) or as a
pitch (A5).
•In the On velocity box, specify the speed of the note's attack (0-127). Low values produce a soft attack;
high values produce a strong attack.
•In the Off velocity box, specify the speed of the note's release (0-127). Low values produce a soft release;
high values produce a staccato release.
•In the Duration box, specify the length of the note's sustain in measures.beats.ticks.
•Click Insert to record the note.
7.
Repeat step six as needed to record each note.
8.
Click Add to add the notes to the MIDI and continue step recording, or click OK to close the MIDI Step
Recording dialog and add the notes to the MIDI in the list editor.
Quantizing events
You can use the MIDI Quantize dialog to force events to align with musical beats based on the parameters
you specify.
1.
To quantize only specific events, select the events you want to quantize.
Tip:
Hold or while clicking event rows to select
multiple events.
2.
Click the Quantize button ( ). The MIDI Quantize dialog appears.
3.
From the Quantize resolution drop-down list, choose the beat to which you want the selected events to be
quantized.
Shift Ctrl
CHP. 10 WORKING WITH MIDI
147
4.
Choose the appropriate options for quantizing:
•Select the Start times check box to snap event start times to the beat selected in the Quantize resolution
drop-down list.
•Select the Note durations check box to snap note durations to the beat selected in the Quantize resolution
drop-down list.
•Select the Notes only check box to quantize note events alone. When you select this check box, the list
editor does not quantize after touch, control change, meta, NRPN, RPN, pitch bend, poly pressure, and
program change events.
•Select the Apply to current selection only check box to quantize only the selected events. Clear the check
box to quantize all events within the list.
5.
Click Apply.
Deleting events
Click an event row and click the Delete button ( ).
Undoing and redoing
You can easily undo and redo actions in the list editor by using keyboard shortcuts. Press to undo an
action, and press to redo an action.
Saving MIDI
When you create or edit MIDI in the list editor, ACID saves the MIDI information in the project, but does
not save the information to a MIDI file. You can save the MIDI information to a MIDI file by clicking the
Save File button ( ). For more information, see Saving, reloading, or replacing MIDI files on page 148.
Loading third-party OPT plug-ins
With ACID’s OPT support, you can load third-party OPT MIDI plug-ins on your system in the Track
Properties window.
If an external MIDI device has an OPT software component, ACID makes the OPT plug-in available to you
in the Track Properties window when you select the MIDI device in the MIDI tab of the Preferences dialog.
For more information, see Using the MIDI tab on page 182.
Note:
You can choose OPT plug-ins to be included with
every new MIDI track you create. For more information, see
Setting default track properties on page 178.
1.
Double-click the MIDI icon ( ) on the track header to open the Track Properties window.
2.
Click the MIDI Editors button ( ). The OPT MIDI Editor Plug-In Chooser dialog appears.
3.
Choose a MIDI editor plug-in in the Available editor plug-ins pane and click the Add button to add it to the
Connected editor plug-ins pane.
Ctrl +Z
Ctrl +Shift+Z
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WORKING WITH MIDI CHP. 10
4.
Click OK. The new plug-in appears as a tab in the Track Properties window.
Note:
When you load an OPT plug-in in the Track
Properties window, ACID loads the plug-in for that track
alone. To use the plug-in in a different MIDI track, you must
load the plug-in from the Track Properties window for that
track.
Saving, reloading, or replacing MIDI files
When you alter a MIDI file using any of the tabs in the Track Properties window, ACID saves the changes in
the project file alone; it does not alter the original MIDI file. To save your changes to the MIDI file, click the
Save File button ( ) in the Track Properties window.
Tip:
To save MIDI to a different file, click the Save File As
button ( ).
You also have the option of reloading the original (unmodified) MIDI file or replacing the MIDI file with
another file. For more information, see Reloading files on page 108 and Replacing files on page 109.
Volume and pan changes made in the General tab of the Track Properties window are not saved to the file
when you click the Save File button. The MIDI file retains its original volume and pan settings; however, the
volume and pan changes made in the General tab are retained in the ACID project file. This means that
when you reload a MIDI file, the volume and pan changes are not reset but are retained. For more
information, see Changing track volume and pan on page 133.
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Routing MIDI tracks to MIDI devices or soft synth controls
You can assign a soft synth control in the Mixer window to any DLS set, VST instrument, or ReWire panel
application on your computer. You can then route a MIDI track to the soft synth control or ReWire 2.0 port.
For more information, see Using soft synth controls on page 115. Alternately, you can route a track directly to an
external MIDI device through a MIDI port.
Tip:
You can use or to select multiple MIDI
tracks and change their soft synth routing all at once.
1.
Click the Device Selection button ( ). A menu displays available MIDI devices and soft synth controls.
•If a soft synth for a particular DLS set, VST instrument, or ReWire panel application does not appear in
the menu, choose Insert Soft Synth to add a soft synth control to the project and route it to a DLS set,
VST instrument, or ReWire panel application. For more information, see Adding soft synth controls to
projects on page 116.
•If a MIDI device does not appear in the menu, choose External MIDI Device Preferences to make MIDI
devices available on the MIDI tab of the Preferences dialog. For more information, see Using the MIDI tab
on page 182.
Note:
Devices selected for generating MIDI timecode on the
Sync tab of the Preferences dialog are unavailable as MIDI
output devices. For more information, see Using the Sync tab
on page 184.
2.
Choose a device, soft synth control, or port from the menu to send the current track to that control.
The Device Selection button indicates whether the track is routed to a soft synth ( ) or MIDI device ( ).
Resetting MIDI ports
When a MIDI port is stuck playing a sustaining sound, ACID provides a quick method to turn off MIDI
ports (much like the panic button on MIDI hardware devices). From the Tools menu, choose Reset All MIDI
Ports to send a global Note Off command to all MIDI ports.
Tip:
Press to reset all MIDI ports.
Shift Ctrl
Ctrl +Alt+F7
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WORKING WITH MIDI CHP. 10
Rendering projects with MIDI tracks
To render projects that contain MIDI tracks, route the MIDI tracks to soft synths (DLS sets or VST
instruments) rather than to external MIDI devices; MIDI tracks that are routed to external MIDI devices are
not included in the rendered file. For more information, see Rendering projects on page 54.
Playing MIDI from external devices
You can set up ACID to receive MIDI input from an external device such as a MIDI keyboard. You can then
use a soft synth control (with its DLS set or VST instrument) or external MIDI device to output the sound
from the external device.
Adding external devices as MIDI inputs
1.
Verify that the Enable Real-Time MIDI command is selected in the Options menu.
2.
From the Options menu, choose Preferences. The Preferences dialog appears.
3.
Click the MIDI tab.
4.
Select a device in the Make these devices available for MIDI input pane.
5.
To enable MIDI thru for the selected input, right-click the entry in the MIDI Thru column and choose a
MIDI thru device from the shortcut menu.
Note:
The MIDI thru device must be selected in the Make
these devices available for MIDI track playback and Generate
MIDI Clock pane in order to appear in the menu. You can
choose more than one MIDI device for MIDI thru output, if
desired.
6.
Click OK.
Assigning MIDI inputs to soft synth controls
You can route MIDI input from an external device to any soft synth control in your project. For more
information, see Adding soft synth controls to projects on page 116.
You can assign both individual tracks and external MIDI
devices to a single soft synth.
1.
In the Mixer window, double-click the soft synth icon on a control ( ). The Soft Synth Properties
window appears.
2.
Click the External MIDI Input Port button ( ) and select the MIDI input device from the menu.
When using VSTi soft synths, make sure the Enable button
( ) is selected for real-time MIDI playback.
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151
Soloing MIDI device inputs
External MIDI devices can be routed to multiple soft synths or MIDI thru devices. Soloing a MIDI device
input prevents your device from playing through other soft synths and MIDI thru devices, soloing the input
through the selected soft synth control. You can solo MIDI input on more than one soft synth control, if
desired.
1.
Double-click the soft synth icon on a control ( ). The Soft Synth Properties window appears.
2.
Click the Solo Listen to MIDI Input button ( ).
Synchronizing using MIDI timecode
ACID can generate MIDI timecode (MTC) and MIDI clock as well as trigger from MIDI timecode. These
features allow ACID to be synchronized with other audio applications and external audio hardware.
Note:
ACID cannot chase MTC or MIDI clock.
Generating MIDI timecode
MIDI timecode is a standard timecode that most applications and some hardware devices use to synchronize
themselves. ACID generates stable MTC at all available frame rates for other applications to chase.
1.
Specify a MIDI output device to which you will send timecode and a frame rate for the timecode. These
options can be found on the Sync tab of the Preferences dialog. For more information, see Using the Sync tab
on page 184.
2.
From the Options menu, choose Timecode, and choose Generate MIDI Timecode from the submenu.
ACID begins generating MTC wherever you click the Play button ( ).
Generating MTC with an offset
In some cases, you may want to start sending timecode with an offset (e.g., 01:00:00:00) to allow time for
multiple devices to synchronize. You can create an offset on the ACID time ruler to accomplish this. For
more information, see Using the ruler offset on page 173.
Viewing outgoing timecode
You can view outgoing timecode in the time display located directly above the track list. Right-click the
time display and choose MIDI Timecode Out from the shortcut menu to display outgoing MTC time.
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Triggering from MIDI timecode
You can trigger ACID playback using MTC. This means that ACID initiates playback by receiving timecode
from another device.
1.
Connect a word clock signal between your computer and triggering device to lock synchronization.
Note:
If the MIDI trigger device can output MIDI timecode,
a timecode converter is not necessary; you can connect the
trigger device directly to your computer.
2.
Configure your triggering device to send MTC to your computer.
3.
From the Options menu, choose Preferences and select the Sync tab to configure ACID to receive MTC.
•From the Input device drop-down list, choose the port through which you receive MTC.
•From the Frame rate drop-down list, choose the frame rate that your trigger device uses to send MTC to
ACID.
4.
From the Options menu, choose Timecode, and choose Trigger from MIDI Timecode from the submenu.
When ACID receives an incoming MTC signal, it begins playing from the position indicated by the
timecode. If ACID is not receiving MTC, you can play and edit normally.
Viewing incoming timecode
You can view the incoming timecode in the time display located directly above the track list. Right-click the
time display and choose MIDI Timecode In from the shortcut menu to show the incoming MTC time.
This display also shows status and error information. If Trigger from MIDI Timecode is enabled but no MTC is
detected, the display reads Waiting...; If the wrong frame rate of MTC is being detected, the display reads
Wrong format.
Generating MIDI clock
MIDI clock differs from MTC in that it contains tempo as well as positional information. MIDI clock is
essentially measured in ticks from the beginning of the project. MIDI clock sends 24 ticks per quarter note.
The advantage of using MIDI clock is that ACID can send its tempo changes to the chasing application and
they will be preserved.
1.
Specify a MIDI output device to which you will send the clock. This option can be found on the Sync tab
of the Preferences dialog. For more information, see Using the Sync tab on page 184.
2.
From the Options menu, choose Timecode, and choose Generate MIDI Clock from the submenu.
ACID generates MIDI clock when you click the Play button ( ).
Viewing outgoing MIDI clock
You can view the outgoing clock in the time display located directly above the track list. Right-click the
time display and choose MIDI Clock Out from the shortcut menu to display the outgoing MIDI clock time.
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CHP. 11 WORKING WITH VIDEO
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153
Working with Video
By adding a video track to your ACID project, you can use ACID as a scoring tool.
Video is always added to the top track in the track list. Depending on your horizontal zoom level, each frame
displayed in the video track may represent multiple frames from the source video. As you zoom in, marks
display to represent each frame, and you can zoom further to view individual frames.
Managing video
ACID makes it easy to add video to a project and work with the video track.
Adding or replacing video files
Use the Explorer window to find the file you want to use, and then add it to the project by double-clicking it
or dragging it into the track view. ACID places the video file in the top track, and if the file has an audio
stream, ACID places it as a separate, one-shot track in the track view.
If your project already contains a video track, ACID prompts you to replace the existing video if you open
another video file.
Tip:
You can also add a still image (such as a BMP, JPEG,
PSD, GIF, PNG, or TGA file) to the video track.
Removing the video track
Right-click anywhere in the video track and choose Remove Video from the shortcut menu.
Hiding and showing the video track
By default, video displays in the track view when you add it to a project. You can hide or show the video
track at any time by choosing Show Video Track from the View menu. A check mark next to the command
indicates that the video track displays.
Synchronizing audio and video
Editing the audio associated with a video file can cause it to become out of sync with the video. To
resynchronize the audio and video, right-click the audio file and choose Synchronize with Video from the
shortcut menu.
Note:
This does not work if you have changed the audio
track to a loop.
11
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Removing the video’s audio
Right-click the audio track in the track list and choose Delete Track from the shortcut menu. The audio track
is removed, but the video remains.
Changing frame numbering
ACID numbers each frame in the video track. You can change the numbering format or turn off frame
numbering altogether.
1.
From the Options menu, choose Preferences. The Preferences dialog appears.
2.
Click the Video tab.
3.
Choose a setting from the Show source frame numbers on video thumbnails as drop-down list.
Editing video events
ACID provides several video editing options to help you score your video.
Moving video events
Drag the event to a new location along the video track.
Trimming video events
Drag either end of the video event. The video event stays in place, but the beginning or end of the video
moves.
You cannot trim the beginning or end of the event past the event’s original end. You cannot trim an event
earlier than its starting point unless the event has been trimmed previously.
Slipping and sliding video events
To help you picture what happens when you slip and slide events, think of an event as a window to a media
file. The window can display the entire media file or a small section. When the window displays only a
portion of the media file, you can move either the window or the underlying media to adjust the media
played by an event:
•When you slip an event, your event maintains its place on the timeline, but the media file moves in the
direction you drag.
•When you slide an event, the media file maintains its place on the timeline, but the event moves in the
direction you drag.
Shifting the contents of video events (slipping)
Hold while dragging the video event to move the position of the video within the event. The event itself
does not move.
Slip-trimming video events
Hold while dragging the beginning or end of a video event. The video moves with the event edge, and
the opposite edge of the event remains fixed.
Sliding video events
Hold while dragging the video event to move the event while leaving the video in place. The
relative position of the video changes as when you slip an event.
Alt
Alt
Ctrl +Alt
CHP. 11 WORKING WITH VIDEO
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Using the Video window
The Video window is used to view the video as it plays or to view the frame at the cursor position. To display
the Video window, choose Video from the View menu, or press .
Using toolbar buttons
The toolbar allows you to access two commonly used functions of the Video window.
Using the shortcut menu
Right-click anywhere in the Video window to display a shortcut menu with Video window options.
Viewing the status bar
Right-click the Video window and choose Show Status Bar from the shortcut menu to view the status bar.
The status bar shows the video’s frame size, frame rate, and display size.
Button Description
Copies the current frame to the Windows
clipboard.
Sends the preview to an external
monitor.
Item Description
Copy Frame Copies the current frame to the Windows clipboard.
Default Background Sets the background color of the Video window to the default color.
Black Background Sets the background color of the Video window to black.
White Background Sets the background color of the Video window to white.
External Monitor Sends the preview to an external monitor.
Display Square Pixels Compensates for any spatial distortions due to non-square pixel aspect ratios.
Display at Media Size Displays video at the native resolution, clipping if necessary.
Show Toolbar Toggles the display of the Video window toolbar.
Show Status Bar Toggles the display of the Video window status bar.
Alt + 4
Toolbar buttons
Shortcut menu
Background
Status bar
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WORKING WITH VIDEO CHP. 11
Previewing on external monitors
ACID allows you to use your system’s external monitor for previewing video playback. You must have an
OHCI IEEE-1394 adapter and a device to convert the DV signal to video, such as a DV camcorder, deck, or
media converter.
To specify an external monitor, click the External Monitor button ( ) on the Video window, or choose
Preferences from the Options menu and click the Video tab.
Other settings for the external monitor can also be found on the Video tab. For more information, see Using the
Video tab on page 183.
Scoring video with ACID
ACID provides tools that allow you to adjust the tempo of a project to easily synchronize audio with specific
video frames.
1.
Add your audio track(s) and video to your project.
2.
If the Video window is not displayed, choose Video from the View menu.
3.
Click the Play button ( ) to begin playback.
4.
Press each time you want to place a time marker at a frame you want to emphasize (where an explosion
is heard, for example).
5.
Click the Stop button ( ) to stop playback.
6.
Return to the leftmost time marker and fine tune its placement so it coincides exactly with the desired
video frame.
Tip:
Holding while pressing the right or left arrow keys
allows you to step the cursor through your video by individual
frames. You may need to drag your time marker to the cursor
to get it on the desired frame.
7.
Place the cursor at the point to which you want to synchronize your time marker. For example, you might
want the frame that you marked in step six to coincide with a downbeat.
8.
Right-click the time marker and select Adjust Tempo to Match Marker to Cursor from the shortcut menu.
The new tempo appears in the track list.
9.
Press to insert a tempo change marker. ACID detects the adjusted tempo and inserts it in the tempo
marker’s box. The tempo change marker preserves synchronization between the time marker and location
on the beat ruler as you perform editing further down the timeline. For more information, see Adding tempo/
key/time signature change markers on page 81.
10.
Repeat steps six through nine to synchronize the rest of your video.
H
Alt
T
12
CHP. 12 WORKING WITH 5.1 SURROUND
CHAPTER
157
Working with 5.1
Surround
ACID allows you to create 5.1-channel mixes to wrap a listener in your remixes or prepare audio for cinema,
DVD-Video, DVD-Audio, or DTS 5.1 Music projects.
Note:
ACID plays and mixes uncompressed 5.1-channel
audio. Authoring software such as the Sonic Foundry
5.1 Surround Plug-In Pack is required to encode 5.1-channel
audio for compressed delivery formats.
What is 5.1 surround?
5.1 surround is a standard format consisting of three speakers across the front and two speakers in the rear.
The “.1” is a sixth channel called low frequency effects (LFE) that enhances the bass levels in the mix.
The LFE channel is commonly used in motion pictures to enhance low audio frequencies for effects such as
explosions or crashes. Audio in this channel is commonly limited to a range from about 25 Hz to 120 Hz.
Unlike the five primary channels, the LFE channel adds no directional information. Depending on the
speaker setup and audio levels, the sound assigned to the LFE channel may be routed among the five main
speakers or to an additional subwoofer.
Left Center Right LFE
Right
Surround
Left
Surround
5.1 surround includes five main channels... ...and a sixth channel for low frequency effects.
12
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WORKING WITH 5.1 SURROUND CHP. 12
Setting up surround hardware
Before you create surround projects in ACID, you should set up your system to provide 5.1 surround
playback. To play a 5.1 surround project, you must have an appropriate speaker setup such as:
•Six powered speakers
•Six passive speakers with a six-channel amplifier
Your system must also have an appropriate sound card setup such as:
•5.1-compatible sound card
•Sound card with three stereo outputs
•Three stereo sound cards
There are several ways to set up your system, depending on the sound card and speaker setup you are using.
Setting up surround projects
You can configure an ACID project to use 5.1 surround in the Project Properties dialog. You can also choose
to apply a low-pass filter for the LFE channel. Applying a low-pass filter approximates the bass-management
system in a 5.1 decoder and ensures that you’re sending only low-frequency audio to the LFE channel.
1.
From the File menu, choose Properties.
2.
Click the Audio tab.
3.
From the Master bus mode drop-down list, choose 5.1 surround.
4.
To limit the audio sent to the LFE channel, do the following:
•Select the Enable low-pass filter on LFE check box and enter a value in the Cutoff frequency for low-pass filter
box. The low-pass filter isolates the audio sent to the LFE channel by limiting it to frequencies lower
than the value entered in the Cutoff frequency for low-pass filter box.
•Choose a setting from the Low-pass filter quality drop-down list to determine the sharpness of the filter’s
rolloff curve. Best produces the sharpest curve.
Note:
Before rendering your surround project, check your
surround authoring application’s documentation to determine
its required audio format. Some encoders require a specific
cutoff frequency and rolloff, while other encoders require that
no filter be applied before encoding.
5.
Click OK.
Six powered speakers Six passive speakers with a six-channel amplifier
5.1-compatible
sound card
Connect powered speakers to your sound card’s
outputs as indicated by your sound card’s
documentation.
Connect your sound card’s front, rear, and center/subwoofer
outputs to the appropriate inputs on a six-channel amplifier/
home theater receiver. Connect front, rear, center, and LFE
speakers to the amplifier.
Sound card with
three stereo
outputs
Connect powered speakers to your sound card’s
outputs where you have routed each of the pairs of
channels. The left channel of the Center/LFE pair is the
center channel; the right channel is the LFE channel.
Connect your sound card’s outputs to the appropriate inputs on
a six-channel amplifier/home theater receiver. Connect front,
rear, center, and LFE speakers to the amplifier.
Three stereo
sound cards
Connect powered speakers to your sound cards’
outputs where you have routed each of the pairs of
channels. The left channel of the Center/LFE pair is the
center channel; the right channel is the LFE channel.
Connect your sound card’s outputs to the appropriate inputs on
a six-channel amplifier/home theater receiver. Connect front,
rear, center, and LFE speakers to the amplifier.
CHP. 12 WORKING WITH 5.1 SURROUND
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The track list and Mixer window switch to 5.1 surround mode. The Master bus becomes the Surround
Master bus, which contains faders for each of the six surround channels. Surround panners appear on tracks
and mixer controls. Tracks routed to mixer controls (busses, assignable effects, or soft synths) do not have
surround panners; panning for these tracks takes place on the mixer control.
Routing to hardware in the mixer
You must route the surround audio to the correct output in the mixer.
1.
From the Options menu, choose Preferences.
2.
Click the Audio tab.
3.
From the Audio device type drop-down list, choose an audio device type other than Microsoft Sound Mapper
(such as Windows Classic Wave Driver).
4.
Choose the playback devices for the six surround channels:
•From the Default Stereo and Front playback device drop-down list, choose the appropriate device for the
front left and right surround channels.
•From the Default Rear playback device drop-down list, choose the appropriate device for the rear left and
right surround channels.
•From the Default Center and LFE playback device drop-down list, choose the appropriate device for the
center and LFE surround channels.
5.
Click OK.
Overriding the default device routing
By setting up the device routing in the Audio tab of the Preferences dialog, you have set the defaults for
surround routing in ACID. However, you can override the default device routing at any time using the
Surround Master bus in the Mixer window.
1.
In the Mixer window, click the Audio Device Selector button ( ) on the Surround Master bus. A menu of
surround channels (Front L/R, Rear L/R, and Center/LFE) appears.
2.
In the submenu, match a surround pair with the appropriate output.
3.
Repeat steps one and two to match each surround pair to the appropriate output.
Track list in 5.1 surround mode Mixer in 5.1 surround mode
Surround
panner
Surround
panners
Front L/R Rear L/R Center LFE
Track routed
to LFE
Track routed
to Bus
MIDI track
routed to
soft synth
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WORKING WITH 5.1 SURROUND CHP. 12
Assigning audio to the LFE channel
Once the project is in 5.1 surround mode, you must decide whether a track will provide the “5” (surround
panning) or the “1” (LFE channel) in 5.1 surround. Initially, all tracks in a surround project are set to
provide surround panning, but you can assign a track to the LFE channel instead.
You can assign an individual track to the LFE channel or you can route the track to a mixer control (bus, soft
synth, or assignable effect chain) and assign the mixer control to the LFE channel.
To assign audio to the LFE channel, right-click the surround panner on the track header or mixer control
and choose LFE Only from the shortcut menu. The track or mixer control is assigned to the LFE channel.
To change a track or mixer control back to surround panning, right-click the LFE indicator and choose
Surround Pan from the shortcut menu.
Note:
Before rendering your surround project, check your
surround authoring application’s documentation to determine
its required audio format with respect to the LFE channel.
For more information, see Setting up surround projects on
page 158.
Panning audio
You can pan audio in a 5.1 surround project in two ways:
•Pan tracks individually using the Surround Panner window.
•Route tracks to mixer controls (busses, assignable effect chains, or soft synths) and pan the mixer controls
using the Surround Panner window.
Note:
You cannot pan audio on tracks or busses that are
routed to hardware outputs in a 5.1 surround project.
Right-click the surround panner and choose LFE Only... ...to assign the track or mixer control to the LFE channel.
CHP. 12 WORKING WITH 5.1 SURROUND
161
Panning tracks
1.
Double-click the surround panner on the track you wish to pan. The Surround Panner window appears.
2.
Adjust the panning settings. For more information, see Using the Surround Panner window on page 163.
3.
Close the Surround Panner window.
Tip:
You can also use the surround panner in the track
header to pan your track.
Double-click to display
the Surround
Panner window
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WORKING WITH 5.1 SURROUND CHP. 12
Panning mixer controls
You may choose to route tracks to busses or other mixer controls (such as soft synths or assignable effect
chains) and pan them as a group rather than panning each track individually.
Note:
When you route a track to a bus or soft synth control,
ACID sends stereo (two-channel) output to the mixer control
and the mixer control sends 5.1 (six-channel) output to the
Surround Master bus.
1.
Add a mixer control to the project. For more information, see Using the Mixer on page 111.
2.
Route tracks to the mixer control. For more information, see Using the Mixer on page 111.
3.
Double-click the surround panner on the mixer control to display the Surround Panner window.
4.
Adjust the panning settings. For more information, see Using the Surround Panner window on page 163.
5.
Close the Surround Panner window.
Tip:
You can also use the surround panner on the mixer
control to pan your track.
Double-click to display
the Surround
Panner window
CHP. 12 WORKING WITH 5.1 SURROUND
163
Using the Surround Panner window
Whether you’re adjusting track panning or mixer control panning, you use the same controls in the
Surround Panner window.
View the Surround Panner window by double-clicking a surround panner on a track header or mixer control.
Once the Surround Panner window is open, you can dock it in the ACID workspace. For more information,
see Docking and floating ACID windows on page 172.
Tip:
You can also choose Surround Panner from the View
menu to display the Surround Panner window. Once the
Surround Panner window is displayed, double-click the
surround panner for a track or mixer control to view its pan
settings.
1.
Click the speaker icons to mute or include channels.
Muting a channel ensures that no audio bleeds through a channel. For example, you might want to mute
all but the center channel when you’re panning dialogue to the center channel.
Tip:
+ click a speaker icon to solo the channel.
2.
Drag the pan point to position the sound within the sound field. For more information, see Moving the pan
point on page 164.
3.
Click the center speaker icon to include the center channel and drag the Center fader to apply a gain to
the center channel.
Applying a gain to the center channel may make dialogue more present in the mix.
Note:
When automating panning using keyframes, you
cannot automate the gain applied using the Center fader. For
more information, see Automating panning on page 165.
4.
Drag the Smoothness slider to adjust the smoothness of the interpolation path between panning
keyframes. The smoothness setting appears only when you are automating panning using keyframes. For
more information, see Adjusting the Smoothness slider on page 167.
Pan point
= Muted channel
= Active (included) channel
Toggle options for constraining
Assign track/bus to LFE channel
pan point movement
Pan type indicator
Ctrl
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WORKING WITH 5.1 SURROUND CHP. 12
Moving the pan point
ACID provides a variety of methods to help you position the pan point in the Surround Panner window.
Choosing pan types
When you pan a track or mixer control, you can choose among several pan types to determine how ACID
pans the audio. The current pan type appears at the bottom of the Surround Panner window.
Right-click the Surround Panner window and choose a pan type from the shortcut menu.
•The Add Channels pan type makes the audio appear to move as a unit among the surround channels. As
you move the pan point toward a channel (speaker icon), more and more of the signal from the other
channels are folded into the channel you are panning towards, until at the extreme, all channels are fed
at full intensity into a single channel. This pan type uses a linear panning curve.
•The Balance pan type is most useful for adjusting the relative signal levels of the channels. In this pan
type, as you move the pan point from the center to a channel, the signal in the channel you are panning
towards starts at the base dB level (either 0 dB, -3 dB, or -6 dB) and increases to 0 dB. The signal in the
channel you are panning away from starts at a base dB level (either 0 dB, -3 dB, or -6 dB) and decays to
no signal level. For example, when you pan fully to the right, only the right channel is audible. This pan
type uses a linear panning curve.
•The Constant Power pan type maintains a constant volume as you move the pan point from channel to
channel. This pan type, which uses the constant-power panning curve, is most useful for panning
monaural source media.
Using the grid to monitor panning
The grid in the Surround Panner window helps you to visualize how your panning will sound. The grid's
spacing changes to match the current pan type.
The vertical lines represent the points where the left-to-right signal ratio is 6 dB, 0 dB, and -6 dB
respectively: at the far-left line, the left channel is 6.0 dB louder than the right channel.
Method Description
Click to toggle through three options for constraining pan point motion as
you drag: Move Freely ( ), Move Left/Right Only ( ), and Move Front/
Back Only ( ).
Double-click Double-clicking the pan point resets it to the center front of the surround
panner.
Double-clicking in the Surround Panner window moves the pan point to
the double-click location.
Ctrl+drag Makes fine adjustments.
Shift+drag Constrains motion to vertical, horizontal, or diagonal motion at 45 degree
increments.
Alt+drag Constrains motion to a constant radius from the center of the surround
panner.
Shift+Alt+drag Constrains motion to the maximally inscribed circle (a constant radius at
the greatest possible distance from the center of the surround panner).
Arrow keys Moves front/back/left/right.
Ctrl+Arrow keys Makes fine adjustments.
Page Up/Page Down Moves front/back.
Shift+Page Up/Page Down Moves left/right.
Numeric keypad 1-9 Jumps to a corner, edge, or center of the surround panner.
Ctrl+Numeric keypad 1,3,7, 9 Jumps to a location on the maximally inscribed circle (a constant radius at
the greatest possible distance from the center of the surround panner).
Mouse wheel Moves front/back.
Shift+mouse wheel Moves left/right.
Ctrl+mouse wheel Makes fine front/back adjustments.
Ctrl+Shift+mouse wheel Makes fine left/right adjustments.
CHP. 12 WORKING WITH 5.1 SURROUND
165
The horizontal lines represent the points where the front-to-rear signal ratio is 6 dB, 0 dB, and -6 dB
respectively. As you adjust the Center fader, the lines move forward or backward to compensate for the
center-channel gain.
The grid assumes that you're using a correctly set-up
surround system (matched speakers and ideal positioning).
Variations in your monitoring system will cause
inconsistencies between the graph and perceived output.
Automating panning
You can automate panning on a track or mixer control by adding keyframes. Keyframes are similar to
envelope points in that they mark specific locations in the track where settings change. However, unlike
envelope points, keyframes appears just below the track to which they apply.
To add panning keyframes to a mixer control, you must first view the mixer control in track view. From the
View menu, choose Show Bus Tracks to view the bus track at the bottom of the track view. For more
information, see Viewing bus tracks on page 125.
Turning on panning keyframes
Before adding individual keyframes, you must first turn on the panning keyframes for the track or bus track.
1.
Select the track or bus track for which you want to automate panning.
2.
From the Insert menu, choose Envelopes, and choose Surround Pan Keyframes from the submenu.
An additional row appears below the track with a single keyframe positioned at the beginning of the
project. This single keyframe represents the current panning settings for the track.
Adding panning keyframes
With panning keyframes turned on, you can add keyframes at any location along the track or bus track.
1.
Position the cursor where you want to begin panning the track.
2.
Double-click the surround panner to display the Surround Panner window.
3.
Adjust the panning settings. For more information, see Using the Surround Panner window on page 163.
Note:
You cannot automate muting/including channels or
the gain applied to the center channel using the Center fader.
Keyframe
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WORKING WITH 5.1 SURROUND CHP. 12
4.
Close the Surround Panner window.
A keyframe with the pan settings you created appears below the track at the cursor position.
Tip:
You can also add keyframes by double-clicking the
keyframe row or by right-clicking the row and choosing Add
Keyframe from the shortcut menu. Once you’ve added the
keyframe, double-click it to adjust panning settings in the
Surround Panner window.
As you add keyframes to a track or bus track, the Surround Panner window shows the path of the panning
keyframes. The Smoothness slider controls the smoothness of the interpolation path between the
keyframes. For more information, see Adjusting the Smoothness slider on page 167.
Working with keyframes
After you add keyframes, you can work with them in much the same way as envelope points. For more
information, see Using track envelopes on page 97.
Moving keyframes
Drag a keyframe to a new position below its track.
Duplicating keyframes
Hold and drag a keyframe to a new position below its track.
Editing keyframes
1.
Double-click a keyframe to open the Surround Panner window.
2.
Adjust the panning settings as desired and close the window.
New keyframe
The Surround Panner window shows the path of the panning keyframes.
Ctrl
CHP. 12 WORKING WITH 5.1 SURROUND
167
Changing keyframe interpolation curves
To control how the pan is interpolated between keyframes, right-click a keyframe and choose an
interpolation curve type from the shortcut menu. Keyframe interpolation curves control how the pan occurs
over time.
Adjusting the Smoothness slider
The Smoothness slider controls the perceived motion of sound within the sound field among three or more
keyframes. When you drag the Smoothness slider to 0, ACID interpolates the changes between keyframes
along a linear path. As you increase the smoothness value, the path between keyframes grows more curved
and smooth.
1.
Double-click a keyframe. The Surround Panner window appears.
2.
Drag the Smoothness slider to adjust the smoothness of the spatial interpolation path leading up to this
keyframe.
Locking keyframes to events
If you want keyframes to move with an event when it is moved along the timeline, choose Lock Envelopes to
Events from the Options menu.
Hiding keyframes
1.
Select the track for which you want to hide keyframes.
2.
From the View menu, choose Show Envelopes, and choose Surround Pan Keyframes from the submenu.
Deleting keyframes
Right-click a keyframe and choose Delete from the shortcut menu.
Keyframe Interpolation curve Description
Hold No interpolation takes place. The keyframe's settings are maintained until the next keyframe.
Linear Panning is interpolated in a linear path.
Fast Panning is interpolated in a fast logarithmic path.
Slow Panning is interpolated in a slow logarithmic path.
Smooth Panning is interpolated along a smooth, natural curve.
Three keyframes with
smoothness=100...
...and the same three keyframes
with smoothness=0.
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WORKING WITH 5.1 SURROUND CHP. 12
Rendering surround projects
ACID renders 5.1 surround projects to produce six monaural files (WAV or AIFF). You can then use an
authoring application to create the final cinema, DVD-Audio, DVD-Video, or DTS 5.1 Music project from
the rendered files.
With the addition of the Sonic Foundry 5.1 Surround Plug-In Pack, you can render AC-3 files in ACID and
burn the resulting files to DVD.
Note:
Before rendering your surround project, check your
surround authoring application’s documentation to determine
its required audio format with respect to the LFE channel.
For more information, see Setting up surround projects on
page 158.
1.
From the File menu, choose Render As. The Render As dialog appears.
2.
From the Save in drop-down list, choose the drive and folder where the file will be saved.
3.
Enter a new name for the project in the File name box.
4.
From the Save as type drop-down list, choose the desired file format (AIFF or WAV). If you have the
Sonic Foundry AC-3 Encoder, you can choose AC-3 from the list as well.
5.
If necessary, click Custom to customize the rendering settings. For more information, see Creating custom
rendering settings on page 55.
Note:
ACID limits you to creating monaural files when
rendering a surround project.
6.
Click Save.
Rendering the surround project SampleProject.wav... ...results in six WAV files.
CHP. 12 WORKING WITH 5.1 SURROUND
169
Burning AC-3 files to DVD
With the addition of the AC-3 DVD Burner included in the Sonic Foundry 5.1 Surround Plug-In Pack, you
can burn AC-3 files to a DVD.
1.
From the Tool s menu, choose Start AC-3 DVD Burner. The AC-3 DVD Burner application starts.
2.
Follow the instructions for burning a DVD in the AC-3 DVD Burner online help. To access online help,
click Help in the AC-3 DVD Burner screen.
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WORKING WITH 5.1 SURROUND CHP. 12
A
APPENDIX A CUSTOMIZING ACID
APPENDIX
171
Customizing ACID
You can customize ACID to suit your project needs and working preferences. You may change these settings
at any time. If you use the same settings for all of your projects, you may set ACID to use your settings as
defaults.
In this chapter, you will find information about functions that allow you to customize ACID and set the
application’s preferences.
Working with ACID windows
ACID has various windows that allow you to perform specific tasks related to your project or manage your
media. These windows can float on the workspace or be docked in the window docking area. All these
windows may be viewed or hidden via the View menu or their respective shortcut keys.
Window Shortcut keys Description
Explorer Alt+1 Allows you to view and access your media files without leaving the work
area. You may also preview media files and place them in your project from
this window.
Chopper Alt+2 Allows you to select portions of a media file that can be placed into tracks as
events.
Mixer Alt+3 Allows you to work with busses, assignable effect chains, and soft synth
controls.
Video Alt+4 Displays a project’s video output at the current cursor position in the
timeline.
Audio Plug-In Alt+5 Allows you to view and edit settings for assignable, bus, soft synth, and
track effect chains.
Track Properties Alt+6 Allows you to view and edit track attributes. For MIDI tracks, allows you to
edit MIDI using the piano roll editor, list editor or other OPT plug-ins.
Surround
Panner
Alt+7 In a 5.1 surround project, this allows you to control panning for a track or
mixer control.
Soft Synth
Properties
Alt+8 Allows you to change the attributes of a soft synth control in the Mixer
window.
A
172
CUSTOMIZING ACID APPENDIX A
Docking and floating ACID windows
The window docking area allows you to keep frequently used windows available but out of the way while you
are working with a project. You can dock windows either in a single stack spanning the width of the screen
or divide the window docking area into sections (e.g., right, middle, and left) and create several stacks.
Windows that are not visible display a tab that you can click to display it. You can also expand, restore, or
close a window using the buttons in the window’s upper-left corner.
Note:
When the last window in the docking area is closed or
removed, the docking area minimizes automatically. When
the docking area is minimized, dragging a dockable window
over the bottom of the ACID window causes the docking area
to open again.
Docking windows
1.
If the window is floating on the workspace, grab the window by its title bar and drag it below the track
view. As you drag the window, the window’s outline appears.
2.
Position the window’s outline in the docking area where you want it and release the mouse.
Floating windows
You may float a window so that it does not appear in the docking
area.
1.
Grab the window by its handle (the border along the left side) and
drag the window to the workspace. As you drag the window, the
window’s outline appears.
2.
Position the window anywhere in the workspace and release the
mouse. You can move the floating window by dragging it to a new
position or docking it again.
Tabs
Close window
Expand/restore window
Handle
APPENDIX A CUSTOMIZING ACID
173
Preventing windows from docking
Press while dragging a window to prevent it from docking in the workspace.
Note:
You can choose to reverse this behavior so that
windows will not dock unless you press . From the
Options menu, choose Preferences, and clear the Allow
floating windows to dock check box on the General tab.
Resizing the window docking area
You can resize the track list, track view and docking area sections of the ACID workspace by dragging the
dividers between them.
Tip:
You can quickly hide or show the window docking area
by pressing .
Changing the time ruler format
You may specify a time format for the ACID time ruler to display. The ruler, located below the track view,
displays real time in several formats. You may change the ruler format in one of the following ways:
•From the View menu, choose Time Ruler, and choose the desired format from the submenu.
•Right-click the time ruler and choose the desired format from the shortcut menu. In addition to right-
clicking the time ruler in the track view, you can use this technique on the time rulers in the Chopper and
Track Properties windows.
The following table describes the time formats available in ACID.
Using the ruler offset
The ruler offset allows you to change the project ruler to start at a specific time. Typically, this feature is used
in conjunction with SMPTE and MIDI projects when their timelines are the main reference. Basically, the
ruler offset allows you to set the ACID time ruler based on another project’s timeline for reference purposes,
i.e., the SMPTE or MIDI timelines.
Time format Description
Samples Displays the time ruler in samples.
Time Displays the time ruler in hours:minutes:seconds.milliseconds.
Seconds Displays the time ruler in seconds.
Time & Frames Displays the time ruler in hours:minutes:seconds.frames with a frame rate equal to that of your
video.
Absolute Frames Displays the time ruler in total frames from the beginning of the project.
Feet & Frames 16 mm Displays the time ruler in feet+frames at a rate of 40 frames per foot.
Feet & Frames 35 mm Displays the time ruler in feet+frames at a rate of 16 frames per foot.
SMPTE Film Sync
(24 fps)
Displays the time ruler in hours:minutes:seconds:frames with a frame rate of 24 frames per second
for synchronizing with film.
SMPTE EBU (25 fps) Displays the time ruler in hours:minutes:seconds:frames with a frame rate of 25 frames per second
for European Broadcasting Union.
SMPTE Non-Drop
(29.97 fps)
Displays the time ruler in hours:minutes:seconds:frames with a frame rate of 29.97 frames per
second.
SMPTE Drop
(29.97 fps)
Displays the time ruler in hours:minutes:seconds;frames with a frame rate of 29.97 frames per
second using dropped frame numbers.
SMPTE 30 (30 fps) Displays the time ruler in hours:minutes:seconds:frames with a frame rate of 30 frames per
second.
Ctrl
Ctrl
F11
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CUSTOMIZING ACID APPENDIX A
When you enter a new value along the timeline, ACID adjusts the ruler’s time units at the cursor position
and at the start of the timeline. For example, if the cursor is positioned at the 2:00 minute mark and you
enter 15:00 minutes, the start of the project will begin at 13:00 minutes. The ruler offset feature works the
same for all time formats in ACID.
1.
Position the cursor anywhere along the timeline.
2.
Right-click the time ruler to display a shortcut menu.
3.
From the shortcut menu, choose Set Time at Cursor. A box opens at the cursor position.
4.
Enter a time value.
5.
Press to set the cursor position’s time value. The value that you enter at the cursor position affects
all time values that precede and follow it.
Using the project grid
The project grid appears on the track view and is mainly used to align the events in your project. The grid
divides your project into equal units based on the setting that you choose. The grid setting can be based on
the project type or how you prefer to work.
It is important to remember that in some cases the grid lines and the ruler divisions do not match. This is
because they are two independent functions. However, you may set the grid to align to the ruler, which is the
default setting.
The grid can use the following formats:
Setting the grid type
You may change the grid type at any time and apply it to your project. There are two ways to set the grid type
for your project.
•From the Options menu, choose Grid Spacing, and choose the type of grid you want from the submenu.
•Right-click the marker bar, choose Grid Spacing from the shortcut menu, and choose the type of grid that
you want from the submenu.
Ruler Marks 16th Notes
Measures 16th Note Triplets
Half Notes 32 Notes
Quarter Notes 32nd Note Triplets
Quarter Note Triplets 64th Notes
8th Notes 64th Note Triplets
8th Note Triplets
Enter
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175
Using the toolbar
ACID is set up to display the toolbar below the menu bar. However, you may hide and customize the toolbar
to suit your preferences. The settings that you apply to the toolbar remain set until you change them again.
Hiding and displaying the toolbar
If you prefer to use shortcut keys when working with your project, you may hide the toolbar to create more
workspace. Choose Toolbar from the View menu to hide it. The check mark next to the command is
removed and the toolbar disappears. The toolbar remains hidden until you choose To o l b a r from the View
menu to display it again.
Reordering toolbar buttons
ACID allows you to change the toolbar’s button order to suit your preferences. You may either reorder the
buttons directly on the workspace or via the Customize Toolbar dialog.
Reordering buttons on the ACID workspace
1.
Hold and drag the button that you want to move to the new location on the toolbar. A hand
icon ( ) within an outline of the button indicates that you are moving the button.
2.
Release the mouse to drop the button in its new location.
Tip:
If you drag the button off the toolbar, the button is
removed.
Reordering buttons in the Customize Toolbar dialog
The Customize Toolbar dialog allows you to control the order and functionality available on the Toolbar.
You may return the toolbar to its default settings by clicking the Reset button.
1.
From the Options menu, choose Customize Toolbar. The Customize Toolbar dialog appears.
2.
On the Current toolbar buttons pane, select the button that you want to move and click Move Up or Move
Down.
3.
Click Close to save the toolbar changes and close the dialog.
Shift
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CUSTOMIZING ACID APPENDIX A
Adding buttons to the toolbar
ACID includes a series of buttons that you may add to the toolbar. These buttons are listed in the Customize
Toolbar dialog. You may also add separators on the toolbar to organize the buttons to suit your preferences.
You may return the toolbar to its default settings by clicking the Reset button on the dialog.
1.
From the Options menu, choose Customize Toolbar. The Customize Toolbar dialog appears.
2.
On the Available toolbar buttons pane, use the scroll bars to locate the button that you want to add and
select it.
3.
On the Current toolbar buttons pane, select the button that you want the newly added button to proceed in
order.
For example, if you want to add the Save As button and want it to precede the Publish To button, select the
Publish To button in the Current toolbar buttons pane.
4.
Click Add. The new button is added above the selected button on the Current toolbar buttons pane.
Tip:
You may also double-click a button to add it to the
toolbar.
5.
Click Close to save the toolbar settings and close the dialog.
Removing buttons from the toolbar
You may remove buttons and separators from the toolbar. If you have added buttons to the toolbar, removing
unused or unwanted buttons allows you to maximize the toolbar’s space. You may remove toolbar buttons
either directly on the workspace or via the Customize Toolbar dialog.
Removing buttons on the ACID workspace
1.
Hold and drag the button that you want to remove off the toolbar. A hand icon ( ) within an
outline of the button indicates that you are removing the button.
2.
Release the mouse to remove the button.
Shift
APPENDIX A CUSTOMIZING ACID
177
Removing buttons in the Customize Toolbar dialog
You may return the toolbar to its default settings by clicking the Reset button on this dialog.
1.
From the Options menu, choose Customize Toolbar. The Customize Toolbar dialog appears.
2.
On the Current toolbar buttons pane, select the button that you want to remove.
3.
Click Remove. The button is removed from the Current toolbar buttons pane and will not appear on the
toolbar.
Tip:
You may also double-click a button to remove it.
4.
Click Close to save the toolbar settings and exit the dialog.
Using the time display
The time display above the track list reflects the cursor’s position on the timeline.
Changing cursor position
You can edit the cursor position using time as it is displayed on either the beat ruler or time ruler:
•To set the cursor’s position based on the beat ruler, right-click the time display and choose Edit Cursor
Position - Beats from the shortcut menu.
•To set the cursor’s position based on the time ruler, right-click the time display and choose Edit Cursor
Position - Time from the shortcut menu.
Once you make your selection from the shortcut menu, a box appears for the appropriate time display. Enter
the cursor’s new position and press .
Tip:
You can also edit the cursor position directly by double-
clicking the desired time display value and entering the new
cursor position.
Changing the time display
The time display window always reflects the format of the time ruler. You may change the ruler settings for
the time ruler via the time display window.
1.
Right-click the time display window to display a shortcut menu.
2.
Choose Time at Cursor Format to display a submenu.
3.
Choose the desired time format.
Both the time window and time ruler display the chosen time format.
Enter
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CUSTOMIZING ACID APPENDIX A
Monitoring MIDI timecode
You can use the time display to monitor incoming or outgoing MIDI timecode.
ACID can be set to monitor MIDI in the following ways:
•Display MIDI timecode generated from external sources.
•Display MIDI timecode and MIDI clock information that ACID is generating.
Within ACID, the time display settings work in conjunction with your project’s properties and MIDI setup
options.
1.
Right-click the time display window to display a shortcut menu.
2.
From the shortcut menu, choose the type of MIDI monitoring for ACID to display.
Once you have made your selection, the time display window displays both the MIDI code being input or
output and a status message.
Setting default track properties
Each new track in ACID has certain default properties, including height, volume, pan type, and track effects.
MIDI tracks also have a default set of MIDI editors that appear in the Track Properties window. You can
modify these track properties and then use the modified track as a standard for all new tracks you create.
1.
Modify a track’s volume (pg. 46), pan type (pg. 103), height
(pg. 45), track effects (pg. 93), and/or MIDI editors (pg. 147).
2.
Right-click the track header and choose Set Default Track
Properties from the shortcut menu.
3.
Select the check boxes for properties you wish to set. Clear the
check boxes for the properties you wish to leave as they are.
Tip:
Select the Restore original defaults check box to return to
the original track properties.
4.
Click OK.
APPENDIX A CUSTOMIZING ACID
179
Setting ACID preferences
From the Options menu, choose Preferences to display the Preferences dialog.
Using the General tab
Item Description
Automatically open last project on
startup
Select this check box if you want ACID to reopen the project that was open the last
time ACID was closed. When you clear this check box, ACID starts with a blank
project.
Show logo splash screen on startup Select this box if you want the ACID logo splash screen to display when ACID starts.
Use Net Notify to stay informed
about Sonic Foundry products
When you select this check box, ACID periodically displays information from Sonic
Foundry at startup. Clear the check box to bypass the Net Notify dialog.
Draw contents of events Select this check box if you want ACID to draw waveforms in events. Clearing the
check box can improve performance on some systems.
Create undos for FX parameter
changes
Select this check box if you want ACID to create Undos when you change a plug-in
parameter.
Confirm media file deletion when
still in use
When you select this check box, a message box appears asking if you want to delete a
media file that is currently in use by the project.
Close media files when ACID is not
the active application
When you select this check box, you can edit files in external editors while the files
are contained in events in ACID.
Close audio and MIDI ports when
ACID is not the active application
Select this check box if you want ACID to close audio and MIDI ports when you
switch to another application.
Clear the check box if you want to leave ports open. For example, if you have a MIDI
keyboard routed to a soft synth in ACID, clearing the check box allows you to
continue to hear the soft synth while you work with a sequencer.
Enable multimedia keyboard
support
When you select this check box, you can use a multimedia keyboard to control
playback of a project.
Automatically render large Wave
files as Wave64
The WAV format is limited by a maximum file size of ~2GB. When you select this
check box, you can render larger files as Sonic Foundry Wave64 files.
Prompt for region and marker
names if not playing
When you select this check box, a box appears so you can name markers and regions
as you place them.
Create project file backups on save
(.acd-bak)
When you select this check box, ACID makes a backup of project files when you open
them. Backup files are stored in the same folder as your project and use the same file
name with the extension .acd.bak. You can use backup project files to revert to a
project’s previous state.
Preserve pitch for new Beatmapped
tracks when tempo changes
Select the check box if you want ACID to maintain the pitch of Beatmapped tracks
when the project tempo changes.
Automatically start the Beatmapper
Wizard for long files
Select the check box if you want ACID to start the Beatmapper Wizard when you add
a file that is longer than 30 seconds to your project.
Use slower updates to prevent
playback clicks during editing
Select this check box if you want ACID to update the audio engine more slowly.
Selecting this option can prevent unwanted artifacts during timeline editing.
Enable autosave Select this check box to create a temporary project file that can aid in crash recovery.
ACID autosaves your project information every five minutes without overwriting
your project file.
Allow floating windows to dock Select this check box if you want to allow floating windows (such as the Explorer and
Chopper) to dock in the window docking area. You can press the Ctrl key while
dragging a window to prevent a window from docking.
Clear the check box if you want to prevent windows from docking. You can press the
Ctrl key while dragging a window to allow a window to dock.
Use ASPI for CD burning and
ripping
Select this check box if you want ACID to use ASPI (Advanced SCSI Programming
Interface) when burning and ripping CDs. ASPI enables host adapters and device
drivers to share a single SCSI hardware interface.
Use SPTI for CD burning Select this check box if you want ACID to use SPTI (SCSI Pass-Through Interface) to
communicate with your CD burning drive.
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CUSTOMIZING ACID APPENDIX A
Autoname extracted CD tracks Select this check box if you want ACID to automatically assign file names to tracks
that you extract from CDs.
File names include the CD's ID number and track number.
Autoname new MIDI tracks Select this check box if you want ACID to automatically name and save new MIDI files
as you create them. ACID names the file New MIDI track X and saves it to the
recorded files folder designated in the Record dialog.
When this check box is cleared, ACID prompts you to specify a name and location for
each new MIDI file as you add it to your project.
Use bright colors for loop stretch
markers
Select this check box if you want to use bright colors for your stretch markers in the
Stretch tab of the Track Properties dialog.
When this check box is cleared, ACID uses muted pastel colors for the stretch
markers.
Recently used project list Select the check box and enter a number in the box if you want ACID to list your
most recently used projects at the bottom of the File menu.
Temporary files folder Displays the folder where ACID stores temporary files. Click Browse to specify a
new folder.
When you add a media file to a project from a removable device, ACID stores a copy
of the media file in a temporary files folder. This keeps the media file available for
use even if the source of the media is no longer accessible.
Be aware that this folder is cleared when you close ACID. However, the temporary
files are not cleared if ACID closes inappropriately.
Free storage space in selected folder This value displays the amount of space available in the folder specified in the
Temporary files folder box.
Default All Restores all general preferences to the default settings.
Item Description
APPENDIX A CUSTOMIZING ACID
181
Using the Audio tab
Setting audio preferences
Item Description
Audio device type Choose a driver type from the drop-down list. The Microsoft Sound Mapper is the
default setting. If you want to activate specific sound cards, choose Windows
Classic Wave Driver or an ASIO driver and choose a device from the Default
Stereo and Front playback device drop-down list.
Default Stereo and Front playback
device
Choose the device that you want to use for playing sound data. In a 5.1 surround
project, this device plays the right and left channels.
Selecting a device such as the Microsoft Sound Mapper allows Windows to select an
appropriate device to use for the current sound data.
If you have selected Microsoft Sound Mapper, you cannot assign busses to different
devices.
Default Rear playback device Choose the device that you want to use for playing the rear surround channels (right
surround and left surround) in a 5.1 surround project.
Default Center and LFE playback
device
Choose the device that you want to use for playing the center and LFE channels in a
5.1 surround project.
Playback buffering (seconds) The Playback buffering (seconds) slider specifies the total amount of buffering
that ACID uses during playback. The larger the number, the more buffering that
ACID does during playback. This value should be as low as possible without gapping.
To set it, start at .25 and play a typical song. Move some of the track faders. If the
playback gaps at all, try increasing this slider in small increments until the gapping
stops.
If you simply cannot get playback to be free of gapping, you need to either decrease
the number of tracks you are trying to play simultaneously, install more RAM in your
computer so you can increase buffering, buy a faster access hard drive, or minimize
the number of DirectX plug-ins you are trying to use simultaneously.
Automatically detect and offset for
hardware recording latency
Select this check box to automatically compensate for offset between the time you
initiate recording and when your sound card starts recording.
User recording latency offset Drag this slider to specify an offset value.
Open files as loops if between
(seconds)
Enter a lower and upper limit to specify which files ACID opens as loops if stretching
properties are not saved in the file.
Files that are shorter than the lower limit are opened as one-shot tracks; files longer
than the upper limit start the Beatmapper Wizard.
Quick fade edit edges of audio
events
When you select this check box, ACID places a rapid fade on the edges of audio
events (10 ms by default) to soften potentially harsh transitions. When you clear this
check box, edges of new events are not faded (fades that were applied before the
check box is cleared are not removed).
Right-click an event and select or clear the Quick Fade Edges command to
override the default event fade behavior for individual events.
Quick fade time Enter a time (in milliseconds) to specify the duration of fades applied to the edges of
events.
Default All Restores all audio preferences to the default settings.
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CUSTOMIZING ACID APPENDIX A
Setting advanced audio preferences
Using the MIDI tab
Using the VST Instruments tab
Item Description
Audio devices This list displays all of the audio devices that are installed in your computer. Selecting
a device allows you to set the options for that device.
Interpolate position When you select this check box, ACID attempts to compensate for inaccurate devices
by interpolating the playback or recording position. If you notice that your playback
cursor is offset from what you are hearing, select this option for the playback device.
Position bias If the position of playback or record does not match what you hear after you enable
Interpolate position, you can attempt to compensate using the Position bias
slider. Moving this slider offsets the position forward or backward to compensate for
the inaccuracies of the device.
Do not pre-roll buffers before
starting playback
When you select this check box, ACID does not create buffers prior to starting
playback. Some devices do not behave properly if you clear this check box. If your
audio stutters when you start playback, try selecting this option.
Audio buffers Drag the slider to set the number of audio buffers that will be used. Adjusting this
setting can decrease gapping or help you synchronize the input and output for record
input monitoring.
Buffer size (samples) Choose a setting from the drop-down list to indicate the buffer size you want to use.
Priority Choose a setting from the drop-down list to set the priority that is assigned to your
audio buffers. Increasing the buffers’ priority can help you attain smoother playback,
but it can also adversely affect other processes.
Enable input monitoring Select this check box to enable the monitoring of your recording input through ACID
while you are recording.
Item Description
Make these devices available for
MIDI track playback and Generate
MIDI Clock
In the Port column, select the MIDI devices that you want to be available for track
playback (pg. 149) and generating MIDI clock (pg. 152).
In the MIDI Thru column, right-click an entry and choose a MIDI device from which
the device selected in the Port column will accept incoming MIDI.
Make these devices available for
MIDI input
In the Port column, select the MIDI devices from which you will accept incoming
MIDI data for MIDI recording (pg. 131), step recording in the list editor (pg. 145),
or controlling a soft synth (pg. 150).
In the MIDI Thru column, right-click an entry and choose a MIDI device to which the
device selected in the Port column will send MIDI output. You can choose more than
one device to accept MIDI output.
Auto MIDI input routing Select the check box if you want ACID to automatically route MIDI input devices to
the soft synth that was viewed last in the Soft Synth Properties window.
The Solo Listen to MIDI Input button in the Soft Synth Properties window is
unavailable when this check box is selected.
Default All Restores all MIDI preferences to the default settings.
Item Description
Default VSTi search folder Displays the location where ACID looks for VST instrument files.
Alternate VSTi search folder X Click Browse to choose an alternate location where ACID can find VST instrument
files.
Select VST instruments to be
available as soft synths
Select the VST plug-ins that you want available for use as soft synths in ACID. Only
the VST instruments located in the default or alternate search folders appear in this
box.
After you add a VSTi soft synth to a project, the VST instrument stays locked until
you close ACID. When a VST instrument is locked, the lock icon for that VSTi displays
as locked, and you cannot clear the VSTi’s check box to make it unavailable in ACID.
APPENDIX A CUSTOMIZING ACID
183
Using the ReWire Devices tab
Using the Video tab
Using the Editing tab
Item Description
Select ReWire device to be available
as soft synths
Select the ReWire client(s) that you want available for use as soft synths in ACID.
Item Description
Show source frame numbers on
video thumbnails as
Choose a setting from the drop-down list to change the format used to display frame
numbers in the video track, or choose None to turn off frame numbering.
External monitor device Choose a DV output device from the drop-down list. This is the interface to which
your video device is connected.
Details Displays information about the device selected in the External monitor device
drop-down list.
If project format is invalid for DV
output, conform to the following
If your source media does not conform to DV standards, choose a setting from the
drop-down list. ACID adjusts the video to display properly on your external monitor.
Sync offset (frames) If your audio is not synchronized with your external monitor, you can configure an
offset for your hardware. Drag the slider to synchronize audio and video.
This setting affects synchronization for previewing on an external monitor. Audio
and video synchronization in your ACID project is unaffected.
Default All Restores all video preferences to the default settings.
Item Description
Project tempo range Use the up and down arrows or enter a value in the boxes to specify the minimum
and maximum tempo available in the ACID project. Changing this option affects the
resolution of the Project Tempo slider.
Editing Application X Enter the name of each editor you want to display in the track list shortcut menu.
Right-click a track in the track list and choose Edit in [editor name] to edit the
media file associated with a track.
You can specify any editing tool you want to use; however, this feature was designed
for use with destructive audio/MIDI editors.
Browse Click Browse and select the .exe file for each editor you want to have available in
the track list shortcut menu.
Name Enter the name that you want to use to identify each editor. The name is displayed in
the track list shortcut menu and the To o l s menu.
Clear Removes the specified editor from the Editing tab.
Check for Sonic Foundry editors When you select this check box, ACID automatically searches for available Sonic
Foundry editors on your computer. If ACID locates one, it appears as an available
editor in the Editing Application X box.
Default All Restores all editing preferences to the default settings.
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CUSTOMIZING ACID APPENDIX A
Using the Sync tab
Setting sync preferences
Generate MIDI Timecode settings
Output device Choose a MIDI device from the drop-down list. ACID sends MIDI timecode to this
device. The MTC slave should also be set to this device. This device will not be
available for MIDI playback.
Frame rate Choose a frame rate from the drop-down list. ACID uses this frame rate to generate
the MIDI timecode. The MTC slave must be set to the same frame rate.
Generate MIDI Clock settings
Output device Choose a MIDI device from the drop-down list. ACID sends MIDI clock to this device.
The MIDI clock slave should also be set to this device.
Trigger from MIDI Timecode settings
Input device Choose a MIDI device from the drop-down list. ACID receives MIDI timecode from
this device. The MTC master should also be set to this device.
Frame rate Choose a frame rate from the drop-down list. This value specifies the frame rate at
which the MTC master sends timecode to ACID.
Advanced Click to open the Advanced Sync Preferences dialog.
Default All Restores all sync preferences to the default settings.
APPENDIX A CUSTOMIZING ACID
185
Setting advanced sync preferences
Using the Other tab
MTC Input
Free-wheel for timecode loss Select this check box if you want ACID to continue to play if timecode is lost.
Enabling this option can compensate for infrequent losses in timecode. If you
frequently lose timecode, you should perform troubleshooting to determine the
cause of the problem.
Free-wheel slack time Use the up and down arrows or enter a value in the box to specify the amount of
time that timecode can be lost before the free-wheel playback time starts. A longer
time is more tolerant of breaks in the incoming timecode.
Free-wheel playback time Use the up and down arrows or enter a value in the box to specify the amount of
time that ACID plays back after the free-wheel slack time has been exceeded.
Synchronization delay time Use the up and down arrows or enter a value in the box to specify the amount of
time it takes for ACID to synchronize itself to incoming timecode.
On slower computers, this time should be set to approximately two seconds. On
faster computers, it may be set lower.
Setting this value too low can sometimes result in audible pitch shifting at the start of
playback.
Offset adjust If ACID is consistently behind or ahead of your MTC generator, enter a value in the
box to adjust a synchronization offset with quarter-frame accuracy.
If ACID is behind, set this value to a negative number. A setting of - 4 is a common
offset.
If ACID is ahead, set this value to a positive number. A setting of +4 is a common
offset, although it is rare that ACID will sync ahead.
MTC Output
Full-frame message generation Select a radio button to determine when ACID sends full-frame timecode messages
while Generate MIDI Timecode is active. Full-frame messages are used by some
external synchronizable audio devices to seek to a proper location prior to actually
starting synchronization. Tape-based recorders especially benefit from seeking to
full-frame messages because of the time it takes to move the transport to the proper
location. However, full-frame messages are ignored by some devices, and may
actually cause unexpected behavior in other devices.
Refer to your hardware documentation to find out if your hardware supports full-
frame messages.
MIDI Clock Output
Send Start instead of Continue
when beginning playback
Select this check box if you want ACID to send a Start command rather than a
Continue command when Generate MIDI Clock is activated.
When the check box is cleared, ACID sends a Continue command, as this type of
command allows the chasing device to start from a specific time. However, some
older sequencers that support MIDI Clock chase do not support the Continue
command and must start playback from the beginning every time.
Song Position Pointer generation Select a radio button to determine when ACID sends Song Position Pointer messages
while Generate MIDI Clock is active.
Song Position Pointer messages are used by MIDI applications and devices to seek to
a proper location prior to starting synchronization.
Item Description
Envelope color preference for Select an envelope from the drop-down list in order to customize the envelope’s
color. Choose Default to accept the standard envelope color, or choose Custom
and use the Red, Green, and Blue sliders to create a custom color.
Enable multiple-selection preview in
Explorer window
Select this check box if you want to preview multiple selected files in the Explorer.
Enter values in the Number of times to repeat each Loop, Seconds of each
One-Shot to play, and Number of Beatmapped measures to play boxes to
specify how ACID previews different file types.
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CUSTOMIZING ACID APPENDIX A
B
APPENDIX B ACID TIPS AND TRICKS
APPENDIX
187
ACID Tips and Tricks
The following sections contain some time-saving tips and creative suggestions for building projects in ACID.
Adding long media files quickly
You can paint an entire CD track or MIDI file on an ACID track with a single click.
1.
Add a long file such as a CD track or MIDI file to your ACID project. For more information, see Adding
media to the project on page 36.
2.
Click the Paint Tool button ( ). The Paint tool is selected.
3.
Press and click in the track. ACID paints the entire file onto the track at the position you clicked.
Note:
In a Beatmapped track, ACID paints the file starting
from the location you identified as the downbeat. If the file
contains pick-up notes, drag the left edge of the event to reveal
audio before the downbeat.
Playing with duplicate tracks
You can duplicate a track in your ACID project and then use the new track to create some interesting
effects.
Detuning paired tracks
Detuning a paired track is a quick and easy way to thicken an audio track without adding the additional
processing of effects. This trick works extremely well with synths, pads, strings and ambient sounds, but you
can also experiment with it to add body to drums, basses, and horns.
1.
Right-click a track and choose Duplicate Track from the shortcut menu. ACID adds a copy of the track to
the track list. The new track is the currently selected track.
2.
Use the and keys on your numeric keypad to change the pitch of the duplicated track.
Octave intervals (e.g., +12, -12, -24) typically sound best when working with pitched audio; however,
experimenting with other, less ordinary intervals may produce surprising results. When working with non-
pitched audio, intervals do not matter, thereby allowing you to freely experiment with radical pitch
shifting.
This technique typically works best when tuning the duplicate track to a lower octave than the original
track, but you can also experiment with raising the pitch of the duplicate track.
Ctrl
+ -
B
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ACID TIPS AND TRICKS APPENDIX B
Panning in conjunction with detuning
Few things are as uninteresting as a series of tracks panned down the middle of a stereo image. Particularly
after detuning a paired track, you should experiment with spatially positioning the tracks using the panning
control (on the multipurpose slider) or a pan envelope. Panning each track to a specific channel produces a
nice, wide aural effect. If you are looking for something a little more dynamic, position the original track
anywhere in the stereo image and use a pan envelope to sweep the duplicate track from the left channel to
the right channel of the mix. For more information, see Using track envelopes on page 97.
Duplicating with offset
Another way to add interesting dynamics to a project is to duplicate tracks and add an offset to one of the
pair. This trick works well with most instrument loops and allows you to create different levels of effect. For
example:
•Configuring a slight offset between duplicate tracks creates a natural chorus effect.
•Configuring small offsets creates various reverb effects.
•Configuring larger offsets creates interesting echoes.
1.
Right-click a track and choose Duplicate Track from the shortcut menu. ACID adds a copy of the track to
the track list.
2.
Hold while dragging the waveform of the duplicate track. Notice that the waveform moves within the
event, which retains its size and position on the timeline.
3.
Experiment with different offsets between the duplicate tracks.
Tip:
As with most tricks, this method can be combined with
pan and volume envelopes to produce an unlimited range of
effects.
Creating ping-pong pan effects
You can use a pair of tracks to ping-pong audio from one speaker to another.
1.
Right-click a track and choose Duplicate track from the shortcut menu. ACID adds a copy of the track to
the track list.
2.
Use the multipurpose slider to pan the original track 100% right and the duplicate track 100% left.
3.
Use the Erase tool ( ) to erase every other beat, alternating between the original and duplicate track.
Tip:
You can also use a pan envelope on a single track to
create the same effect. For more information, see Using track
envelopes on page 97.
Alt
APPENDIX B ACID TIPS AND TRICKS
189
Adding depth with assignable effects
You can add depth to your mix by panning a dry signal (no effects) to one side and a wet signal (with effects
such as chorus or reverb) to the other. You can pan the dry and wet signals by adding an assignable effects
chain to your project.
1.
Add an assignable effects chain containing an effect such as chorus or reverb to your project. For more
information, see Adding assignable effect controls on page 113.
2.
Press to view bus tracks. For more information, see Automating mixer controls in track view on page 125.
3.
Right-click the bus track for the assignable effect control, choose Insert/Remove Envelope from the
shortcut menu, and choose Pan from the submenu. A pan envelope appears on the bus track.
4.
Drag the envelope down to 100% right.
5.
Use the multipurpose slider (on the track to which you want to apply the effect) to make three changes:
•Pan the track 100% left.
•Set the assignable effect send to approximately the same volume as the track.
•Set the assignable effect send to Pre Volume.
Preview the effect. The dry signal is panned to the left, and the wet signal (with the chorus or reverb
effect) is panned to the right.
Playing double time/half time
You can also produce interesting effects by misinforming ACID regarding the number of beats in a file.
Configuring a file with half its actual number of beats results in double-time playback. This is an easy way to
add speed metal drum tracks to your project. This technique is also useful for adding a kick drum on every
beat to producing a heavy dance foundation. Conversely, configuring a file with twice its actual number of
beats results in half-time playback.
1.
Right-click the desired track in the track list and choose Properties from the shortcut menu. The Track
Properties window appears.
2.
Click the Stretch tab.
3.
Change the value in the Number of beats box.
U
Pan the track hard left... ...match the assignable effect
send level to the track volume...
...and set the assignable effect send to
Pre Volume.
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ACID TIPS AND TRICKS APPENDIX B
Constructing the wall of sound
As mentioned previously, it is sometimes preferable to color and thicken mixes without resorting to effects
and other digital processing. Working without the benefit of multitrack recording, music producer Phil
Spector colored his songs by having several instruments play slightly different parts. For example, he might
have an acoustic bass, an electric bass, and a piano play slight variations on the same basic riffs. These
variations, along with the different timbre of the actual instruments, produced a dense sonic mass that
became known as The Wall of Sound.
•To add this aural density to your projects, experiment with using two, three, or even four tracks of
similar instrumentation.
•Alter the pitch of specific tracks to help them cut through the mix. For more information, see Changing a
track’s key on page 82.
•Further differentiate specific tracks using pan and volume envelopes to color the project and simulate
live performance. For more information, see Using track envelopes on page 97.
•Make the effects even more pronounced by setting a start offset within specific individual events. For
more information, see Changing event properties on page 68.
Adding through subtraction
You can create dynamics by removing sections of events. You can erase sections of events from a project by
using the Erase ( ) tool.
To demonstrate using subtractive arranging, add three or four similar drum loops to a project. Use the Erase
tool to delete specific sections of each event. For example, erase all snares from one track, all basses from
another, high hats from the third, and so on. This results in a tighter, more realistic drum sound for your
project.
Experiment with taking this technique a step further and randomly remove sections from each track. When
doing this, remember to keep at least one of the drum tracks playing at all times, unless you want the drums
to completely drop out of the mix. Randomly removing sections of events adds realism to your projects by
approximating how a drummer plays with slight variations throughout a song.
Tweaking the dynamics
You can use several techniques in ACID to adjust the dynamics of your mix.
Fading in and out of mixes
With bus tracks, you can use a volume envelope to fade in and out of the entire project.
1.
Press to view bus tracks. For more information, see Automating mixer controls in track view on page 125.
2.
Select the Master bus track and press to add a volume envelope.
3.
Add and adjust envelope points to fade into and out of the project. For more information, see Adjusting
envelopes on page 99.
U
Shift +V
APPENDIX B ACID TIPS AND TRICKS
191
Adding build ups
If you are attempting to build projects that escape the perceived limitations of computer-generated loop-
based music, you should concentrate on reproducing the subtle (and not so subtle) dynamics associated with
live instrumentation.
One of the simplest, but most effective examples of this is the build up. When musicians play live, there is a
tendency to increase dynamics as a song enters a chorus or refrain. Think of how a drummer uses accents,
drum rolls, and fills that steadily increase in volume to enter a song or indicate an approaching change from
verse to chorus or chorus to bridge.
This effect is easily reproduced in ACID by adding a volume envelope to the track. Add points at the various
drum beats and adjust them so that the volume steadily increases. For more information, see Adding volume or
pan envelopes on page 97.
Creating wah-wah effects with automated Track EQ
You can use the automatable Track EQ effect to create a custom wah-wah effect on a track. The example
below provides sample values to use in the Track EQ plug-in, but you can adjust the settings to suit your
taste.
1.
Click the Tra ck F X button ( ) on the track to which you want to add the effect. The Audio Plug-In
window appears.
2.
Adjust the settings for band 1 as follows:
•Frequency: 20,000
•Gain: -14.9
•Rolloff: 24
3.
Adjust the settings for band two as follows:
•Gain: 15
•Bandwidth: 0.9
4.
Click the FX Automation button ( ). The FX Automation Chooser dialog appears.
5.
Select the Band2 Frequency check box and click OK. An effect automation envelope appears on the track.
6.
Add points to the envelope so that the Band2 Frequency parameter oscillates between about 100 Hz and
3000 Hz. For more information, see Adjusting envelopes on page 99.
Making automated changes more stark
ACID envelopes allow you to change settings for a variety of features over time. While you may often use
envelopes to transition smoothly from one setting to another, you can also create interesting effects by
making stark changes between settings.
Abruptly changing volume or pan
By holding its setting until the next envelope point, the hold fade curve allows you to use volume and pan
envelopes to make abrupt changes. For more information, see Changing envelope fade curves on page 100.
1.
Select a track and press (volume) or (pan) to add an envelope.
Tip:
You can also use this technique on a bus track. For more
information, see Automating mixer controls in track view on
page 125.
Shift + V Shift +P
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ACID TIPS AND TRICKS APPENDIX B
2.
Click the Envelope Tool button ( ) to select the envelope tool.
3.
Right-click the first point on the envelope and choose Hold from the shortcut menu.
4.
Add several more points by double-clicking the envelope. Note that each new point also has the hold fade
curve.
5.
Set each point to a different level. For more information, see Adjusting individual envelope points on page 100.
You can repeat the pattern by copying and pasting the envelope points repeatedly. For more information,
see Cutting, copying, and pasting envelope points on page 101.
Turning automated effects on and off
You can use effect automation envelopes to change effect settings over time, but you can create a simple,
dramatic effect by simply automating whether the effect is processed (on) or bypassed (off).
1.
Add an automatable effect to a track and adjust the effect’s parameters to your liking. For more
information, see Using track effects on page 93.
2.
In the Audio Plug-In window, click the FX Automation button ( ) to display the FX
Automation Chooser.
3.
Click the automatable plug-in at the top of the FX Automation Chooser. A list of the effect's automatable
parameters appears.
4.
Select the Bypass check box and click OK. An envelope for the Bypass parameter of the effect appears on
the track.
5.
Add multiple points to the envelope. For more information, see Adding envelope points on page 99.
6.
Adjust the envelope points to alternate between bypassing the effect (Bypass=True) and processing the
effect (Bypass=False). For more information, see Adjusting individual envelope points on page 100.
Preview the effect. The track alternates cleanly between processing the effect and bypassing the effect.
You can repeat the pattern by copying and pasting the envelope points repeatedly. For more information,
see Cutting, copying, and pasting envelope points on page 101.
Making automated frequency changes more natural
When you automate an effect’s frequency parameters, such as the frequency parameters in the track EQ
effect, you may notice that the frequency changes are more apparent moving through the lower frequencies
than the higher frequencies. Without getting too technical, frequency scales in track EQ and other plug-ins
use a logarithmic scale instead of a linear scale. Since effect automation uses linear interpolation, an effect’s
automated frequency parameter will sound as if it sweeps through the lower frequencies faster than the high
frequencies. You can visualize this if you watch the plug-in settings in the Audio Plug-In window during
automated effect playback.
To make automated frequency changes sound more natural, use envelope fade curves to change the rate at
which interpolation happens between two envelope points. For a high-to-low frequency sweep, use a fast
fade curve between points, and for a low-to-high frequency sweep, use a slow curve. Although the fast and
slow curves are not logarithmic curves, they are similar enough to make the frequency transitions sound
more even. For more information, see Changing envelope fade curves on page 100.
APPENDIX B ACID TIPS AND TRICKS
193
Overriding compress/expand
One of the most powerful features of ACID is its ability to compress or expand a loop while maintaining the
loop’s original pitch. However, you can override this feature in order to produce specific effects in your
projects.
1.
Right-click a track in the track list to view the track’s Track Properties window.
2.
Click the Stretch tab.
3.
From the Stretching method drop-down list, choose Pitch shift segments. The track’s pitch will change in
relation to the tempo of the project.
While this may seem like just a way of producing old school effects, it actually has practical applications as
well. For example, specifying Pitch shift segments can actually improve the fidelity of drum loops recorded at
a tempo near the project tempo. In addition, overriding the compress/expand feature allows you to create
great bass grooves by slowing drum loops.
Slicing and dicing in the Chopper
You can use the Chopper to add creative slice-and-dice effects to your ACID project.
Chopping new loops for alternate time signatures
The Chopper makes it easy to clone a new loop from a song or sample. This feature can be particularly handy
when you want to create a loop for a different time signature. In this example, you’ll create a 3/4 pattern from
a 4/4 loop.
1.
Set the project time signature to 3/4. For more information, see Changing project time signature on page 80.
2.
Place a 4/4 loop file in the Chopper. For more information, see Placing files in the Chopper on page 87.
3.
Select a three-beat section of audio to be used for the new loop. Use the Chopper’s transport bar to
preview the new loop.
4.
Right-click the selection and choose Chop to New Track from the shortcut menu. Alternately, press
. The Chop to New Track dialog appears.
Tip:
You can also drag a selection from the Chopper to the
track list.
5.
Complete the information in the Chop to New Track dialog and click Save.
ACID saves the selection and adds the file as a 3/4 loop to a new track in the project. For more
information, see Saving Chopper selections as new files on page 90.
Chopping multiple files into a new loop
Want to combine short segments of several loops into a new loop? You can use the Chopper to chop
segments from several files into new loops and then combine the new loops into a single loop.
1.
Place a file in the Chopper. For more information, see Placing files in the Chopper on page 87.
2.
Select audio in the Chopper and press to chop the audio to a new loop.
3.
Repeat steps one and two for as many loop segments as you want.
4.
Draw events on the new tracks to create a new melodic or rhythmic pattern.
Ctrl +M
Ctrl +M
194
ACID TIPS AND TRICKS APPENDIX B
5.
Select the new tracks and from the Tools menu, choose Render to New Track to render the tracks to a
single track. The Render to New Track dialog appears.
6.
Complete the information in the Render to New Track dialog and click Save. For more information, see
Mixing multiple tracks to a single track on page 109.
ACID saves the new composite loop and adds it to your project as a new track.
Creating drum-roll build ups
1.
Place a file in the Chopper. For more information, see Placing files in the Chopper on page 87.
2.
Create a one-measure selection. For more information, see Creating selections of a specific musical length on
page 88.
3.
Click the Insert Selection button ( ) once. The selection is pasted to the track view.
4.
Click the Halve Selection button ( ). This decreases the selected portion of the waveform by half.
5.
Click Insert Selection button ( ) twice.
6.
Click the Halve Selection button ( ).
7.
Continue to double the number of inserts after each halving of the selection until you achieve the desired
drum roll effect.
Creating drum fills
1.
Place a file in the Chopper.
2.
Create an eighth-note (or other length) selection of a drum track in the Chopper.
3.
Click the Insert Selection button ( ).
4.
Use the Shift Selection Left () and Shift Selection Right ( ) buttons to move the selection randomly
through the drum track, clicking the Insert Selection button ( ) to insert drum hits.
Creating one-track remixes
1.
Place a Beatmapped track in the Chopper. For more information, see Using the Beatmapper on page 103.
2.
Create a selection in the Chopper.
3.
Click the Insert Selection button ( ) twice.
4.
Use the Shift Selection Right button ( ) to move through the track, clicking the Insert Selection button
( ) as desired to insert events.
Creating DJ-style crossfades
You can use the Chopper and the crossfade keyboard shortcut to crossfade between two tracks much like a
DJ crossfades between two records.
1.
Insert two Beatmapped tracks into your project. For more information, see Using the Beatmapper on page 103.
2.
Place the file from track one in the Chopper.
3.
Turn off the Link Arrow to Selection button ( ).
4.
Create a three-beat selection in the Chopper and drag the increment arrow length to four beats.
5.
Click Insert Selection button ( ).
6.
Press to shift the selection right by the length of the insert increment arrow.
7.
Repeat steps five and six as desired.
Ctrl +.
APPENDIX B ACID TIPS AND TRICKS
195
8.
Place the file from track two in the Chopper.
9.
Repeat steps four through six to insert events from track two.
10.
Select all events on the two beatmapped tracks in the track view.
11.
Press . ACID creates crossfades between your events.
Creating pseudo-granular synthesis
1.
Create a sixty-fourth note (or shorter) selection in the Chopper.
2.
Click the Insert Selection button ( ).
3.
Use the Shift Selection Left () and Shift Selection Right ( ) buttons to move the selection randomly
through the track, clicking the Insert Selection button ( ) to insert events.
Building instrument solos
The previous section described an extended technique to create challenging rhythmic variations in your
projects. You can use a slightly different version of the slice-and-dice technique to build instrument solos for
your projects. To demonstrate this, let’s start with an event containing a simple bass riff.
1.
Slice and dice the file in the Chopper to create new riffs and add them to the project. For more
information, see Using the Chopper on page 85.
2.
Use the pitch shifting to transpose some of the new events. For more information, see Changing an event’s
key on page 82.
3.
Apply volume envelopes to simulate the varying attacks associated with live soloing. For more information,
see Adding volume or pan envelopes on page 97.
4.
Use tempo/key/time signature change markers to create passages with tempos that deviate from the
project tempo. For more information, see Working with tempo/key/time signature change markers on page 81.
Building scales
Though it is well outside the intended scope of the application, you can use ACID to build unique scales
from audio loops. To do this, you must first isolate a note and determine what pitch it is. You can easily do
this using Sound Forge’s Spectrum Analysis tool. Once you isolate and identify the note, choose Save As
from the File menu in Sound Forge to save the note as a new WAV file with a unique name. Finally, add the
file to the ACID project and use pitch shifting to create all remaining notes in the scale.
F
196
ACID TIPS AND TRICKS APPENDIX B
C
APPENDIX C GLOSSARY
APPENDIX
197
Glossary
The glossary contains terms and their definitions that you may come across in the manual. This glossary not
only includes terms associated with ACID, but also includes relevant industry terms.
.acd-zip
An ACID project file that contains all information regarding the project
including track layout, envelope settings, and effects parameters. In addition, all
audio files used in the project are embedded into the project file.
Activation Code
This number is based on the Computer ID number of the computer on which
ACID is installed. Each computer has a unique number, similar to a license plate.
When you register ACID, Sonic Foundry generates an activation code for you
based on the Computer ID number. Once you enter the activation code, ACID
will not time out. Since the activation number is based on the Computer ID, it is
important that you have ACID installed on the computer where you will be
using it.
Adaptive Delta Pulse
Code Modulation
(ADPCM)
A method of compressing audio data. Although the theory for compression using
ADPCM is standard, there are many different algorithms employed. For example,
Microsoft's ADPCM algorithm is not compatible with the International
Multimedia Association's (IMA) approved ADPCM.
Advanced
Streaming Format
(ASF)
See Windows Media Format.
Aliasing
A type of distortion that occurs when digitally recording high frequencies with a
low sample rate. For example, in a motion picture, when a car's wheels appear to
slowly spin backward while the car is quickly moving forward, you are seeing the
effects of aliasing. Similarly, when you try to record a frequency greater than one
half of the sampling rate (the Nyquist Frequency), instead of hearing a high
pitch, you may hear a low-frequency rumble.
To prevent aliasing, an anti-aliasing filter is used to remove high-frequencies
before recording. Once the sound has been recorded, aliasing distortion is
impossible to remove without also removing other frequencies from the sound.
This same anti-aliasing filter must be applied when resampling to a lower sample
rate.
ASIO
ASIO (Audio Stream In/Out) is a low-latency driver model developed by
Steinberg Media Technologies AG.
ASX File
ASF Stream Redirector file. See Redirector File.
Attack
The attack of a sound is the initial portion of the sound. Percussive sounds
(drums, piano, guitar plucks) are said to have a fast attack. This means that the
sound reaches its maximum amplitude in a very short time. Sounds that slowly
swell up in volume (soft strings and wind sounds) are said to have a slow attack.
Attenuation
A decrease in the level of a signal.
Audio Compression
Manager (ACM)
The Audio Compression Manager from Microsoft is a standard interface for audio
compression and signal processing for Windows. The ACM can be used by
Windows programs to compress and decompress WAV files.
C
198
GLOSSARY APPENDIX C
Audio Interchange
File Format (AIFF)
An audio file format developed by Apple Computer.
Audio Proxy File
(.sfap0)
See Proxy File.
Bandwidth
When discussing audio equalization, each frequency band has a width associated
with it that determines the range of frequencies that are affected by the EQ. An
EQ band with a wide bandwidth affects a wider range of frequencies than one
with a narrow bandwidth.
When discussing network connections, refers to the rate of signals transmitted;
the amount of data that can be transmitted in a fixed amount of time (stated in
bits/second): a 56 Kbps network connection is capable of receiving 56,000 bits of
data per second.
Beatmapped track
A file that has tempo information added to it as a result of going through the
Beatmapper Wizard.
Beats Per Minute
(BPM)
The tempo of a piece of music can be written as a number of beats in one minute.
If the tempo is 60 BPM, a single beat occurs once every second.
Bit
The most elementary unit in digital systems. Its value can only be 1 or 0,
corresponding to a voltage in an electronic circuit. Bits are used to represent
values in the binary numbering system. As an example, the 8-bit binary number
10011010 represents the unsigned value of 154 in the decimal system. In digital
sampling, a binary number is used to store individual sound levels, called samples.
Bit Depth
The number of bits used to represent a single sample. For example, 8- or 16-bit
are common sample sizes. While 8-bit samples take up less memory (and hard
disk space), they are inherently noisier than 16-bit samples.
Buffer
Memory used as an intermediate repository in which data is temporarily held
while waiting to be transferred between two locations. A buffer ensures an
uninterrupted flow of data between computers. Media players may need to
rebuffer when there is network congestion.
Bus
A virtual pathway where signals from tracks and effects are mixed. A bus's output
can be a physical audio device in the computer from which the signal is heard.
Byte
Refers to a set of 8 bits. An 8-bit sample requires one byte of memory to store,
while a 16-bit sample takes two bytes of memory to store.
Clipboard
The clipboard is the location where data cut or copied from ACID is stored. You
can then paste the data back into ACID at a different location.
Clipping
Occurs when the amplitude of a sound is above the maximum allowed recording
level. In digital systems, clipping is seen as a clamping of the data to a maximum
value, such as 32,767 in 16-bit data. Clipping causes sound to distort.
Codec
Coder/decoder: refers to any technology for compressing and decompressing data.
The term codec can refer to software, hardware, or a combination of both
technologies.
Compression Ratio
(audio)
A compression ratio controls the ratio of input to output levels above a specific
threshold. This ratio determines how much a signal has to rise above the
threshold for every 1 dB of increase in the output. For example, with a ratio of
3:1, the input level must increase by three decibels to produce a one-decibel
output-level increase:
•Threshold = -10 dB
•Compression Ratio = 3:1
•Input = -7 dB
•Output = -9 dB
Because the input is 3 dB louder than the threshold and the compression ratio is
3:1, the resulting signal is 1 dB louder than the threshold.
APPENDIX C GLOSSARY
199
Compression Ratio
(file size)
The ratio of the size of the original noncompressed file to the compressed
contents. For example, a 3:1 compression ratio means that the compressed file is
one-third the size of the original.
Computer ID
Each computer has a unique number, similar to a license plate. Sonic Foundry
creates an activation number for ACID based on that number. Since the
activation number is based on the Computer ID, it is important that you have
ACID installed on the computer where you will be using it. The Computer ID is
automatically detected and provided to you when you install ACID.
The Computer ID is used for registration purposes only. It doesn't give Sonic
Foundry access to any personal information and can't be used for any purpose
other than for generating a unique activation number for you to use ACID.
Crossfade
Mixing two pieces of audio by fading one out as the other fades in.
DC Offset
DC offset occurs when hardware, such as a sound card, adds DC current to a
recorded audio signal. This current results in a recorded wave that is not centered
around the zero baseline. Glitches and other unexpected results can occur when
sound effects are applied to files that contain DC offsets.
Decibel (dB)
A unit used to represent a ratio between two numbers using a logarithmic scale.
For example, when comparing the numbers 14 and 7, you could say 14 is two
times greater than the number 7; or you could say 14 is 6 dB greater than the
number 7. Where did we pull that 6 dB from? Engineers use the equation dB = 20
x log (V1/V2) when comparing two instantaneous values. Decibels are
commonly used when dealing with sound because the ear perceives loudness in a
logarithmic scale.
In ACID, most measurements are given in decibels. For example, if you want to
double the amplitude of a sound, you apply a 6 dB gain. A sample value of 32,767
(maximum positive sample value for 16-bit sound) can be referred to as having a
value of 0 dB. Likewise, a sample value of 16,384 can be referred to having a
value of -6 dB.
Device Driver
A program that enables Windows to connect different hardware and software.
For example, a sound card device driver is used by Windows software to control
sound card recording and playback.
Digital Rights
Management (DRM)
A system for delivering songs, videos, and other media over the Internet in a file
format that protects copyrighted material. Current proposals include some form
of certificates that validate copyright ownership and restrict unauthorized
redistribution.
Digital Signal
Processing (DSP)
A general term describing anything that alters digital data. Signal processors
have existed for a very long time (tone controls, distortion boxes, wah-wah
pedals) in the analog (electrical) domain. Digital Signal Processors alter the data
after it has been digitized by using a combination of programming and
mathematical techniques. DSP techniques are used to perform many effects such
as equalization and reverb simulation.
Since most DSP is performed with simple arithmetic operations (additions and
multiplications), both your computer's processor and specialized DSP chips can
be used to perform any DSP operation. The difference is that DSP chips are
optimized specifically for mathematical functions while your computer's
microprocessor is not. This results in a difference in processing speed.
DirectX
A set of Application Program Interfaces designed by Microsoft for multimedia
development. A DirectX plug-in, such as the Sonic Foundry Noise Reduction
DirectX Plug-In, uses the DirectX Media Streaming Services (DMSS) API.
Because DMSS is a standard API, a DirectX plug-in can be used in any
application that supports DMSS.
Downbeat
This term is used in the Beatmapper to refer to the first beat of the first measure.
Downloadable
Sound (DLS)
A DLS file stores a custom sound set that you can load into your soft synth,
giving you another set of voices for MIDI playback.
200
GLOSSARY APPENDIX C
Drag and Drop
A quick way to perform certain operations using the mouse. To drag and drop,
you click and hold an item, drag it (hold the left mouse button down and move
the mouse) and drop it (let go of the mouse button) at another position on the
screen.
Dynamic Range
The difference between the maximum and minimum signal levels. It can refer to
a musical performance (high-volume vs. low-volume signals) or to electrical
equipment (peak level before distortion vs. noise floor). For example, orchestral
music has a wide dynamic range, while thrash metal has a very small (always
loud) range.
Envelopes
Envelopes allow you to automate the change of a certain parameter over time. In
the case of volume, you can create a fade out (which requires a change over time)
by adding an envelope and creating a point in the line to indicate where the fade
starts. Then you pull the end point of the envelope down to -inf.
Equalization (EQ)
Equalizing a sound file is a process by which certain frequency bands are raised or
lowered in level. EQ has various uses. The most common use for ACID users is to
simply adjust the subjective timbral qualities of a sound.
Event
An instance of a media file on a track. An event may play an entire media file or
a portion of the file.
File Format
A file format specifies the way in which data is stored. In Windows, the most
common audio file format is the Microsoft WAV format.
Frame Rate
Audio uses frame rates only for the purposes of synching to video or other audio.
To synchronize with audio, a rate of 30 fps (frames per second) is typically used.
To synchronize with video, 29.97 fps drop is usually used.
Frequency
Spectrum
The frequency spectrum of a signal refers to its range of frequencies. In audio, the
frequency range is basically 20 Hz to 20,000 Hz. The frequency spectrum
sometimes refers to the distribution of these frequencies. For example, bass-heavy
sounds have a large frequency content in the low end (20 Hz-200 Hz) of the
spectrum.
Hertz (Hz)
The unit of measurement for frequency or cycles per second (CPS).
Insert Increment
Sections of silence between selections that you can create using the Chopper and
insert into the track view.
Insertion Point
The insertion point (also referred to as the cursor position) is analogous to the
cursor in a word processor. It is where markers or commands may be inserted
depending on the operation. The insertion point appears as a vertical flashing
black line and can be moved by clicking the left mouse button anywhere in the
track view.
Loop
Loops are small audio clips that are designed to create a repeating beat or pattern.
Loops are usually one to four measures long and are stored completely in RAM
for playback.
Marker
A marker is an anchored, accessible reference point in a file.
MIDI Channel
An informational pathway over which MIDI data can travel.
Media Control
Interface (MCI)
A standard way for Windows programs to communicate with multimedia devices
such as sound cards and CD players. If a device has an MCI device driver, it can
easily be controlled by most multimedia Windows software.
Media File
Files that may be placed within the ACID project. After a media file is placed
into the project, it is referred to as an event.
MIDI Clock
A MIDI device-specific timing reference. MIDI Clock is not absolute time like
MIDI timecode (MTC); instead it is a tempo-dependent number of ticks per
quarter note. MIDI clock is convenient for synchronizing devices that need to
perform tempo changes mid-song. ACID supports MIDI clock out, but does not
support MIDI clock in.
APPENDIX C GLOSSARY
201
MIDI Port
A MIDI port is the physical MIDI connection on a piece of MIDI hardware. This
port can be a MIDI in, out or through. Your computer must have a MIDI-capable
card to output MIDI timecode to an external device or to receive MIDI timecode
from an external device.
MIDI Timecode
(MTC)
MTC is an addendum to the MIDI 1.0 specification and provides a way to specify
absolute time for synchronizing MIDI-capable applications. MTC is essentially a
MIDI representation of SMPTE timecode.
Multiple-Bit-Rate
Encoding
Multiple-bit-rate encoding (also known as Intelligent Streaming for the
Windows Media platform and SureStream™ for the RealMedia G2 platform)
allows you to create a single file that contains streams for several bit rates. A
multiple-bit-rate file can accommodate users with different Internet connection
speeds, or these files can automatically change to a different bit rate to
compensate for network congestion without interrupting playback.
To take advantage of multiple-bit-rate encoding, you must publish your media
files to a Windows Media server or a RealServerG2.
Musical Instrument
Device Interface
(MIDI)
A standard language of control messages that provides for communication
between any MIDI-compliant devices. Anything from synthesizers to lights to
factory equipment can be controlled via MIDI.
Normalize
Refers to raising the volume so that the highest level sample in the file reaches a
user defined level. Use normalization to make sure you are using all of the
dynamic range available to you.
Nyquist Frequency
The Nyquist Frequency (or Nyquist Rate) is one half of the sample rate and
represents the highest frequency that can be recorded using the sample rate
without aliasing. For example, the Nyquist Frequency of 44,100 Hz is 22,050 Hz.
Any frequencies higher than 22,050 Hz produce aliasing distortion in the sample
if no anti-aliasing filter is used while recording.
Offline Media
A media file that cannot be located on the computer. If you choose to leave the
media offline, you can continue to edit events on the track; the events point to
the original location of the source media file.
One-Shot
One-shots are chunks of audio that are not designed to loop, and they are
streamed from the hard disk rather than stored in RAM if they are longer than
three seconds. Things such as cymbal crashes and sound bites could be considered
one-shots.
Unlike loops, one-shots do not change pitch or tempo with the rest of a project.
OPT Plug-In
A plug-in that uses Yamaha’s Open Plug-in Technology (OPT) standard. OPT
plug-ins provide tools for working with MIDI such as edit views, effect processors
and filters, arpeggiators, and real-time panel automation.
Pan
To place a mono or stereo sound source perceptually between two or more
speakers.
Peak Data File
The file created by ACID when a file is opened for the first time. This file stores
the information regarding the graphic display of the waveform so that opening a
file is almost instantaneous. This file is stored in the directory where the audio
file resides and has a .sfk extension. If this file is not in the same directory as the
audio file or is deleted, ACID recalculates it the next time you open the file.
Proxy File
Working with certain types of media files with particular audio compression
schemes can be inefficient and slow. To compensate for this, ACID creates audio
proxy files for these formats to dramatically increase speed and performance.
The file is saved as a proprietary .sfap0 file, with the same name as the original
media file and the same characteristics as the original audio stream. The
conversion happens automatically and does not result in a loss of quality or
synchronization. You can safely delete audio proxy files at any time since ACID
recreates these files as needed.
202
GLOSSARY APPENDIX C
Pulse Code
Modulation (PCM)
PCM is the most common representation of uncompressed audio signals. This
method of coding yields the highest fidelity possible when using digital storage.
PCM is the standard format for WAV and AIFF files.
Quantization
The correction of rhythms to align with selected note lengths or beats in a MIDI
sequence.
Real-Time
Streaming Protocol
(RTSP)
A proposed standard for controlling broadcast of streaming media. RTSP was
submitted by a body of companies including RealNetworks and Netscape.
Redirector File
A metafile that provides information to a media player about streaming media
files. To start a streaming media presentation, a Web page includes a link to a
redirector file. Linking to a redirector file allows a file to stream; if you link to the
media file, it downloads before playback.
Windows Media redirector files use the .asx or .wax extension; RealMedia
redirector files use the .ram, .rpm, or .smi extension.
Region
A region in ACID is a section of time used to subdivide your project into
segments.
Rendering
The process in which ACID saves the project to a specific file format like WMA
or MP3.
Resample
The act of recalculating samples in a sound file at a different rate than the file
was originally recorded. If a sample is resampled at a lower rate, sample points are
removed from the sound file, decreasing its size, but also decreasing its available
frequency range. Resampling to a higher sample rate, ACID interpolates extra
sample points in the sound file. This increases the size of the sound file, but does
not increase the quality. When down-sampling, one must be aware of aliasing.
Sample
The word sample is used in many different (and often confusing) ways when
talking about digital sound. Here are some of the different meanings:
•A discrete point in time which a sound signal is divided into when digitizing.
For example, an audio CD-ROM contains 44,100 samples per second. Each
sample is really only a number that contains the amplitude value of a waveform
measured over time.
•A sound that has been recorded in a digital format; used by musicians who
make short recordings of musical instruments to be used for composition and
performance of music or sound effects. These recordings are called samples. In
this manual, we try to use sound file instead of sample whenever referring to a
digital recording.
•The act of recording sound digitally, i.e., to sample an instrument means to
digitize and store it.
Sample Rate
The sample rate (also referred to as the sampling rate or sampling frequency) is
the number of samples per second used to store a sound. High sample rates, such
as 44,100 Hz provide higher fidelity than lower sample rates, such as 11,025 Hz.
However, more storage space is required when using higher sample rates.
Sample Size
See Bit Depth.
Sample Value
The sample value (also referred to as sample amplitude) is the number stored by a
single sample. In 16-bit audio, these values range from -32768 to 32767. In 8-bit
audio, they range from -128 to 127. The maximum allowed sample value is often
referred to as 100% or 0 dB.
Secure Digital Music
Initiative (SDMI)
The Secure Digital Music Initiative (SDMI) is a consortium of recording industry
and technology companies organized to develop standards for the secure
distribution of digital music. The SDMI specification was created to answer
consumer demand for convenient accessibility to quality digital music, enable
copyright protection for artists' work, and enable technology and music
companies to build successful businesses.
APPENDIX C GLOSSARY
203
Shortcut Menu
A context-sensitive menu that appears when you right-click certain areas of the
screen. The functions available in the shortcut menu depend on the object being
right-clicked as well as the state of the program. As with any menu, you can
choose an item from the shortcut menu to perform an operation. Shortcut menus
are used frequently in ACID for quick access to many commands.
Signal-to-Noise
Ratio
The signal-to-noise ratio (SNR) is a measurement of the difference between a
recorded signal and noise levels. A high SNR is always the goal.
The maximum signal-to-noise ratio of digital audio is determined by the number
of bits per sample. In 16-bit audio, the signal to noise ratio is 96 dB, while in 8-bit
audio the ratio is 48 dB. However, in practice this SNR is never achieved,
especially when using low-end electronics.
Society of Motion
Picture and
Television Engineers
(SMPTE)
SMPTE timecode is used to synchronize time between devices. The timecode is
formatted as hours:minutes:second:frames, where frames are fractions of a second
based on the frame rate. Frame rates for SMPTE timecode are 24, 25, 29.97 and
30 frames per second.
Soft Synth
A soft synth is a software-based synthesizer. Downloadable Sounds (DLS) and
Virtual Studio Technology Instruments (VSTi) are two types of soft synths.
In ACID, you add a soft synth control in the Mixer window for each software
synthesizer you want to use in a project.
Streaming
A method of data transfer in which a file is played while it is downloading.
Streaming technologies allow Internet users to receive data as a steady,
continuous stream after a brief buffering period. Without streaming, users must
download files completely before playback.
Temp o
Tempo is the rhythmic rate of a musical composition, usually specified in beats
per minute (BPM).
Threshold
A threshold determines the level at which the signal processor begins acting on
the signal. During normalization, levels above this threshold are attenuated
(cut).
Time Format
The format by which ACID displays the time ruler and selection times. These
can include: time, seconds, frames, and all standard SMPTE frame rates.
Track
A discrete timeline for audio data. Audio events sit on tracks and determine
when a sound starts and stops. Multiple audio tracks are played together to give
you a composite sound that you hear through your speakers.
Track List
The track list contains the master controls for each track. From here you can
adjust the mix, select playback devices, and reorder tracks.
Track View
The majority of the track view is made up of the space where you draw events on
each track.
µ-Law
µ-Law (mu-Law) is a companded compression algorithm for voice signals defined
by the Geneva Recommendations (G.711). The G.711 recommendation defines
µ-Law as a method of encoding 16-bit PCM signals into a non-linear 8-bit
format. The algorithm is commonly used in European and Asian
telecommunications. µ-Law is very similar to A-Law, however, each uses a
slightly different coder and decoder.
Undo/Redo
These commands allow you to change a project back to a previous state or
reapply changes after you have undone them.
Virtual MIDI Router
(VMR)
A software-only router for MIDI data between programs. ACID uses the VMR to
receive MIDI timecode and send MIDI clock. No MIDI hardware or cables are
required for a VMR, so routing can only be performed between programs running
on the same PC.
VST Instrument
(VSTi)
A Virtual Studio Technology instrument (VSTi) is software synthesizer plug-in
technology for outputting MIDI developed by Steinberg Media Technologies
AG.
204
GLOSSARY APPENDIX C
WAV
A digital audio file format developed by Microsoft and IBM. One minute of
uncompressed audio requires 10 MB of storage.
Waveform
A waveform is the visual representation of wave-like phenomena, such as sound
or light. For example, when the amplitude of sound pressure is graphed over time,
pressure variations usually form a smooth waveform.
Waveform Display
Each event shows a graph of the sound data waveform. The vertical axis
corresponds to the amplitude of the wave. For 16-bit sounds, the amplitude range
is -32,768 to +32,767. For 8-bit sounds, the range is -128 to +127. The horizontal
axis corresponds to time, with the leftmost point being the start of the waveform.
In memory, the horizontal axis corresponds to the number of samples from the
start of the sound file.
Windows Media
Format
A Microsoft file format that can handle audio and video presentations and other
data such as scripts, URL flips, images and HTML tags. Advanced Streaming
Format files can be saved with .asf, .wma, or .wmv extensions.
INDEX
i
Index
Numerics
5.1 Surround Plug-In Pack, 157, 168, 169
5.1 Surround, See Surround
A
AC-3 Encoder, 157, 168, 169
Add channels panning model, 103, 164
Adding
Assignable effects, 113
Busses, 111
Events, 39
Media to projects, 36
MIDI tracks, 131
Soft synth controls, 116
Video, 153
Adjusting the mix, 46
ASIO drivers, 31
Assignable effects, 113–115, 120–125
Adding, 113
Adjusting levels sent from tracks, 97–102
Assigning tracks to, 114
Deleting, 115
Routing to busses, 114
Saving effect packages, 124
Audio Plug-In window, 18, 93–96
Audio preferences tab, 181
Audio properties tab, 34
Audio signal flow, 24–25
Automating
Effects, 97–102
Mixer controls, 125
Surround panning, 165–167
B
Balance panning model, 103, 164
Beat ruler, 17
Beatmapped tracks, 38
Stretching properties, 106, 108
Beatmapper wizard, 103
Bit depth, 34
Burning CDs, 57
Bus tracks, 125
Busses, 111–113, 120–125
Adding, 111
Adjusting levels sent from tracks, 97–102, 112
Assigning tracks to, 15, 111
Deleting, 112
Panning, 162
Routing assignable effects to, 114
Routing to hardware, 112
Using effects, 121
Using the control, 120
C
CD
Extracting media, 37
Writing media, 57
Changing the track color, 45
Channelization in MIDI files, 133
Chopper, 18, 85–91
Grid, 85
Inserting selections from, 90
Keyboard shortcuts, 86
Markers and regions, 87
Saving selections as new files, 90
Selecting audio, 87
Snapping options, 85
Tips and tricks, 193
Using with one-shots, 91
Window, 85
Clipping, 52
Cloning loops, 90, 193
Command markers, 73
Constant power panning model, 103, 164
Copying
Events, 59
Tra ck s, 46
Crossfade, 70, 194
Cursor, 41–44, 177
Customer service/sales, 1
INDEX
ii
Cutting
Events, 61
In ripple mode, 65
Tr a c k s , 4 6
D
Deleting
Assignable effects, 115
Audio from a video, 154
Busses, 112
Events, 40, 61
In ripple mode, 66
Soft synth controls, 120
Tr a c k s , 4 6
Video, 153
Detuning tracks, 187
DLS sets
Changing patches, 117
Routing tracks to, 120, 149
Using, 117
Docking windows, 172
Downloading media from the Web, 38
Drawing events, 39
Duplicating tracks, 45
DVD burning, 169
E
Editing preferences tab, 183
Effects
Assignable, 121
Automating, 97–102
Bus, 121
Managing effects, 124
Preset Manager, 124
Project, 121
Saving plug-in packages, 96, 124
Saving presets, 94, 122
Soft synth, 121
Track, 93–96
Envelopes
Customizing colors, 185
Envelope tool, 100
Event, 69
Flipping, 100
Mixer controls, 125
Track, 97–102
Erasing events, 40, 190
Events
Changing length, 40
Changing pitch, 82
Copying, 59
Crossfading, 70
Cutting, 61, 65
Deleting, 61, 66
Editing in ripple mode, 64–67
Envelopes, 69
Erasing, 40
Fading edges for offsets, 69
Fading in and out, 70
Joining, 64
Moving, 41
Painting, 39
Pasting, 59, 66
Pitch shifting, 69
Properties, 68
Selecting, 42–44
Shifting the contents of, 68
Sliding, 68
Slipping, 68
Slip-trimming, 68
Snapping, 78
Speed, 69
Splitting, 62
Start offset, 69
Trimmi ng , 61
Volume, 69
Explorer window, 35–37
Exporting loops, 110
External devices
Playing MIDI from, 150
Routing busses to, 112
Routing MIDI tracks to, 149
Routing video to, 156
External monitor, 156
Extracting media from CD, 37
F
Faders, Mixer, 51, 120
Fading edges of events, 69
Fading in/out
Events, 70
Mixer controls, 125
Tracks, 97–102
Filtering MIDI events
During playback, 134
In the list editor, 141
Fitting to time, 83
Flipping envelopes, 100
Floating windows, 172
Frame numbering, 154
INDEX
iii
G
General preferences tab, 179
Getting media from the Web, 38
Glossary, 197
Go to, 42
Grid, 174
H
Hardware
Playing MIDI from, 150
Routing busses to, 112
Routing MIDI tracks to, 149
Routing surround to, 159
Routing video to, 156
Setting up for surround, 158
Help, 12–13
Hiding/showing
Bus tracks, 125
Toolbar, 175
Track envelopes, 101–102
Video tracks, 153
Windows, 171
I
Inserting time, 82
Installation, 11
J
Joining events, 64
K
Key changes
Event, 69, 82
Marker, 81
Project, 80
Track, 82
Keyboard shortcuts
Chopper window, 86
General, 19
Keyframes, 165–167
L
LFE channel, 157, 160
List editor, 140–147
Creating MIDI events, 145
Deleting MIDI events, 147
Editing MIDI events, 141
Filtering MIDI events, 141
MIDI event parameters, 142
MIDI notes and frequencies, 144
Previewing MIDI events, 140
Quantizing note events, 146
Step recording MIDI, 145
Undoing and redoing, 147
Looped playback, 50
Loops
Creating in the Chopper, 90
Exporting from projects, 110
Stretching properties, 106, 107–108
Tra ck s, 38
M
Main window, 13
Markers, 71–75
Command markers, 73
In the Chopper, 87
Marker bar, 17
Tempo/key/time signature markers, 81
Time markers, 73
Media files
Adding to projects, 36
Downloading from the Web, 38
Exporting loops from projects, 110
Extracting from CD, 37
Previewing in Chopper, 86
Previewing in Explorer, 35
Reloading, 108
Replacing, 109
Saving track properties to, 109
Meter resolution, 120
MIDI, 131–152
Adding tracks, 131
DLS sets, 149
List editor, 140–147
Notes and frequencies, 144
OPT plug-ins, 147
Panic button, 149
Piano roll editor, 134–139
Playback devices, 149
Playing from external devices, 150
Preferences, 182
Quantizing, 139, 146
Recording, 131
Rendering, 150
Resetting ports, 149
Routing to hardware, 149
Setting device preferences, 149
Signal flow, 26–27
Step recording, 145
Timecode synchronization, 151–152
INDEX
iv
Track properties, 132–133
Tr a c k s , 3 9
VST instruments, 149
Mixer window, 50–52, 111–125
Automating controls, 125
Routing surround through, 159
Working with mixer controls, 120
Working with multiple controls, 125
Mixing to a single track, 109
Monitor for video editing, 156
Moving
Events, 41
Tr a c k s , 4 5
Multipurpose slider, 16, 46
Muting
Mixer controls, 121
Tracks, 16, 47
Tracks in MIDI files, 133
O
Offsetting tracks, 188
One-shots
Selecting in the Chopper, 91
Tr a c k s , 3 8
Online help, 12
Opening
Media files, 36
Projects, 34
OPT plug-ins, 147
Other preferences tab, 185
P
Packages, Saving, 96, 124
Painting events, 39, 40
Panic button, 149
Panning
Pan types, 103, 164
Surround, 160
Tracks, 16, 46, 97–102
Tracks in MIDI files, 133
Pasting
Events, 59
In ripple mode, 66
Tr a c k s , 4 6
Piano roll editor, 134–139
Adding note events, 136
continuous controller information, 138
Deleting note events, 139
Editing note events, 137
Previewing MIDI, 135
Quantizing note events, 139
Selecting MIDI tracks, 136
Selecting note events, 138
Undoing and redoing, 139
Pitch shifting
Events, 69, 82
MIDI tracks, 132
Projects, 80
Tracks, 82
Playing projects, 49
Plug-Ins, See Effects
Preferences
Audio, 181
Editing, 183
General, 179
MIDI, 182
Other, 185
Sync, 184
Video, 183
VST Instruments, 182
Preset Manager, 124
Presets
Managing, 124
Saving, 122
Previewing media
Adjusting preview volume, 51
Chopper window, 86
Explorer window, 35
Projects
Adding media, 36
Key, 80
Opening, 34
Playing, 49
Properties, 33
Publishing to the Internet, 56
Rendering, 54
Saving, 53
Starting, 33
Tem po, 7 9
Time signature, 80
Properties
Event, 68
MIDI track, 132–133
Project, 33
Recording, 128
Track, 105–109
Proxy file, 201
Publishing projects, 56
INDEX
v
Q
Quantizing MIDI
In the list editor, 146
In the piano roll editor, 139
R
Recording, 127–130
MIDI step recording, 145
MIDI tracks, 131
Multiple takes, 130
Properties, 128
Setting levels, 129
Redo, 49
Regions, 76–77
In the Chopper, 87
Registration assistance, 1
Reloading
Media files, 108
MIDI files, 148
Removing
Audio from a video, 154
Video tracks, 153
Renaming
Mixer controls, 51
Tr a c k s , 4 5
Tracks in MIDI files, 133
Rendering
MIDI projects, 150
Projects, 54
Supported formats, 55
Surround projects, 168
To new tracks, 109
Using custom settings, 55
Reordering tracks, 45
Replacing
Media files, 109
MIDI files, 148
Resetting MIDI ports, 149
Resizing
Tr a c k s , 4 5
Windows, 173
ReWire panel applications
inserting as soft synth, 119
Locating for use in ACID, 119
opening, 119
using with ACID, 119
Ripping tracks from CD, 37
Ripple editing, 64–67
Cutting events, 65
Deleting events, 66
Pasting events, 66
Ruler offset, 173
S
Sample rate, 34
Saving
Changes to MIDI files, 148
Plug-in packages, 96, 124
Presets, 122
Projects, 53
Track properties to media files, 109
Scoring video, 156
Selecting events, 42–44
Shortcut keys, 19
Signal flow
Audio, 24–25
MIDI, 26–27
Sliding
Events, 68
Video events, 154
Slipping
Events, 68
Video events, 154
Slip-trimming
Events, 68
Video events, 154
Snapping, 78
In the Chopper window, 85
Soft synth controls, 115–125
Adding, 116
Assigning tracks to, 120
Deleting, 120
modifying properties, 116
Routing to DLS sets, 117
Routing to VST instruments, 117
Soft Synth Properties window, 19
Soloing
Mixer controls, 121
Tracks, 16, 48
Tracks in MIDI files, 133
Splitting events, 62
Start offset, 69
Step recording MIDI, 145
Streaming media commands, 73
Stretching properties, 105–108
Summary properties tab, 33
Surround, 157–168
Automating panning, 165–167
Hardware setup, 158
Keyframes, 165–167
LFE channel, 157, 160
Panning, 160
Rendering, 168
INDEX
vi
Surround Panner window, 18, 163
Sync preferences tab, 184
Synchronizing audio and video, 153
System requirements, 11
T
Takes, recording multiple, 130
Technical support, 1
Tempo changes
Marker, 81
Project, 79
Temporary files, 36, 180
Time
Fitting projects to time, 83
Inserting into projects, 82
Time d ispl ay, 177
Time markers, 73
Time ruler, 17, 173
Time signature changes
Marker, 81
Project, 80
Timecode synchronization, 151–152
Tips and tricks, 187–195
Toolbar, 14, 175–177
Track list, 15
Track Properties window, 18, 105–109, 132–133
Track view, 16
Tracks
Adjusting bus send levels, 112
Adjusting mix, 46
Adjusting several simultaneously, 48
Assigning to busses, 15, 111
Assigning to effect chains, 114
Assigning to soft synth controls, 120
Changing color, 45
Changing pitch, 82
Copying, cutting, pasting, 46
Default properties, 178
Deleting, 46
Duplicating, 45
Effects, 93–96
Envelopes, 97–102
Muting, 16, 47
Panning, 16, 46, 97–102, 161
Properties, 105–109, 132–133, 178
Renaming, 45
Reordering, 45
Resizing, 45
Soloing, 16, 48
Stretching properties, 105–108
Types, 38, 105
Volume, 16, 46
Transport bar, 17
Tra ns p os i ng
Beatmapped tracks to the project key, 108
Keys within a project, 81
Loop tracks to the project key, 107
MIDI tracks to the project key, 132
Project keys, 80
Trimming events, 61
U
Undo, 48
Undo history, 49
V
Video, 153–156
Adding, 153
Editing events, 154
Frame numbering, 154
Hiding/showing, 153
Removing, 153
Removing associated audio, 154
Scoring, 156
Synchronizing with audio, 153
Video preferences tab, 183
Video window, 18, 155
Voice s
Patch changes for DLS sets, 117
VST instruments, 117
INDEX
vii
Volume
Event, 69
Project, 50, 120
Recording, 129
Track, 16, 46
Tracks in MIDI files, 133
VST Instruments
Preferences, 182
VST instruments
Loading banks and presets, 118
Locating for use in ACID, 118
Routing MIDI tracks to, 120, 149
Using, 117
W
Wall of sound, 190
What’s new?, 29–32
What’sThis? help, 13
Window docking area, 18
Windows
Audio Plug-In, 18, 93–96
Chopper, 18, 85
Docking/floating, 172
Explorer, 18, 35–37
Hiding/showing, 171
Main, 13
Mixer, 18, 50–52, 111–125
Soft Synth Properties, 19
Surround Panner, 18, 163
Track Properties, 18, 105–109, 132–133
Video, 18
Writing to CD, 57
Z
Zoom controls
Chopper window, 86
Main window, 17
INDEX
viii

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