Looking for:


SONY ACID PRO SOFTWARE Multitracking, editing, midi, looping, for PC.

Click here to ENTER
































































Notice that the loop notch is also in a different position, and that the mouse cursor is a slip trim cursor. Click the Selection tool button on the Toolbar, or press the D key to cycle through the various editing tools. Q Creating multiple events with a single stroke. You can toggle snapping on or off by pressing F8. From start to finish, this chapter shows you how to begin a project and output a final song. Before ACID Pro software, even simple composition and recording required hiring talented musicians, booking studio time, and spending a lot of money.

DEFAULT
DEFAULT


  • corel pdf fusion alternative free
  • windows 10 no se conecta a internet wifi free
  • cpu usage 99 percent windows 10 free




  • DEFAULT

    DEFAULT

    Sony acid pro 7 manual pdf free -



    This can be a timesaver in some situations, but mostly its just incredibly fun to doodle around with the Paint tool, creating a song instantly. Try this out in a live performance, painting events just-in-time before the playback timeline cursor arrives.

    Q Creating multiple events with a single stroke. Typically this is useful with a short one-shot media file, such as a single kick drumbeat. When you drag the mouse on the timeline while using the Draw tool, a single instance of the loop is drawn no matter how far the mouse is dragged.

    When you use the Paint tool, you create a single event for every grid line that you drag across. By zooming in and out on the project roll your mouse wheel , you can set the grid spacing to be once every measure, once every two beats, once every beat, or some other spacing. Then, to use the kick-drum beat example, you could use the Paint tool to quickly insert a kick on beat 1 of every measure, on beats 1 and 3, on every beat, or periodically at any grid spacing you zoom to.

    Q Erasing. Right-click an event using the Paint tool to erase sections of the event. The amount of the event thats erased is equal to the space between two grid lines, and is therefore dependent on grid spacing and zoom level. Snapping must be turned on for this to work. Q Joining events. Events that are split, or that are in separate pieces, can be rejoined by painting across the split or gap between them. Although its not as intuitive to some as the Draw tool, its more powerful in many situations.

    Its a huge timesaver because it synchronizes loops to the beat automatically. Snapping applies not only to moving events, but also to event creation and trimming see Figure 1. There will be many times when you wont want an event to snap to the visible grid lines, and there are two main solutions to this: turn off snapping or zoom in on the project. There are three ways to turn off snapping: Q Click the Enable Snapping button on the Toolbar to toggle it on or off.

    Snapping is on when the button is pressed. Q Press the F8 key. This is a shortcut for the Enable Snapping button and toggles this function on or off. Q To disable snapping temporarily, click on an event and then press the Shift key without releasing the mouse button.

    Now you can drag the event with snapping disabled temporarily. Also notice that the beats in the drum part tend to line up with the grid lines as well. This is all automatic as long as snapping is turned on. Moving and Trimming Events You can move events around on a track easily by dragging them.

    Since each track is associated with a single media file, events must remain within their original track that is, you can only drag events horizontally. Once again, the leading edge of the event snaps back and forth to the grid lines as its dragged.

    You can drag events over other events on the timeline, covering them up. Trimming events is about as easy as moving them. Move the mouse cursor over an event edge.

    When the cursor changes from a tool icon such as the pencil icon for the Draw tool to the trim cursor see Figure 1. Again, the edge youre trimming snaps to the grid lines.

    Events that youre trimming are always selected, which is indicated by an event background thats a color other than white. Waveforms A waveform is a visual representation of a sound file. Ultimately, you edit in the ACID software by ear, but you can make very precise cuts, splits, and trims simply by looking at the peaks and valleys of a media file or event.

    Q The size of a peak indicates the amplitude loudness of the sound. Q Stereo media files have two parallel waveforms that represent the two stereo channels. The top waveform is the left channel and the bottom waveform is the right channel. Q The color of a waveform corresponds to the associated tracks color. You can use waveforms to identify where the beat falls in rhythmic music. The two events in Figure 1. The top track has a spoken-word media file.

    The bottom track contains a drum part and displays clear periodic peaks in the waveform that line up with the beats marked along the top of the timeline. By zooming in and out on the timeline or in another window, you can see more detail in the waveform and make more accurate edits. The ACID software calculates and draws the waveforms of media files at the time of insertion. For short media files like most loop files , this is extremely fast and you might not even notice the delay.

    The waveforms for longer media files, typically entire songs or the soundtrack to a video file, take much longer to draw. In these situations, the ACID application stores the waveform drawing on your hard drive as an.

    You can delete these small. For example, when you trim a drum part with a kick beat on one, the kick remains on beat one, even though the event gets longer or shorter.

    In slip trimming, the relative distance of the media file from the edge being trimmed remains the same. In other words, the media within the event moves along with the trim and changes relative to the project, the timeline, and the beat. Take a look at Figure 1. The top event is the original event. The second track shows what happens if you drag the edge of the event trim it longer. The last track shows the results of a slip trim to the same position.

    The event is the same length as the one in track 2, but the media within the event is in a different position. Notice that the loop notch is also in a different position, and that the mouse cursor is a slip trim cursor. You can see the slip trim cursor on the last event, which is a reversed regular trim cursor.

    You can engage slip trimming by pressing the Alt key while dragging the edge of an event. Watch for the mouse cursor to change from the regular draw or paint tool cursor to the special slip trim cursor when the Alt key is pressed. Shifting the Media Within an Event The media within an event can also be shifted and moved relative to the project while the event itself remains stationary.

    The track below it has an identical event, but the media within it has been shifted. Notice that the waveform of the event in the second track is in a different position than in the first track, even though the event remains in the same position on the timeline. The mouse cursor also changes to a shift cursor. This is simply a variation of slip trimming. Q Event Basics You can shift the media within an event by pressing the Alt key while dragging inside an event. The mouse cursor changes to the shift cursor when the Alt key is pressed.

    Chopper Window The Chopper window is a special tool that you can use to perform a precise trim of a media file and insert the trimmed portion into the timeline.

    The advantage of using the Chopper window is that you can trim an event in more detail without zooming in on the project timeline. There are also a number of other tools in the Chopper window that make trimming easier. The Chopper window displays the entire media file of the selected track. Click on a different track to load a different media file into the Chopper. To trim and insert events into the timeline using the Chopper: 1. Drag the mouse on the waveform in the Chopper window. This creates a selection region thats highlighted.

    Position the timeline cursor on the main timeline where you would like the new event to be inserted. In the Chopper window, click the Insert button. You can see in Figure 1. There are many more features, including but not limited to markers, regions, and spacing out events at regular intervals.

    See Chapter 4, Polishing Up, for more information on trimming events using the Chopper, creating interesting variations on a media file by splitting it up creatively.

    Zooming helps you work on the timing of your project in more detail. At extreme levels of zooming, you can make microsecond-level and even sample-level changes in event placement and trimming. Zooming also subdivides the project into finer grid lines see Figure 1.

    The second example is zoomed in a bit, and the grid lines fall on each beat. The final example is zoomed in much further and shows even more detail in the pictured event. There are a number of different zooming methods. Zooming in on the timeline horizontally means that less time is visible, but you can see more detail in the waveforms.

    Zooming out horizontally shows more of a project and gives you an overview of the song. Vertical zooming changes the track height. More information on zooming is found in Chapter 2, Getting Around. As with Windows, copying or cutting an event places the data on the Windows Clipboard temporarily.

    The Copy, Cut, and Paste items are all available on the Edit menu. Copying leaves the original event on the track, while cutting removes it. You can also right-click an event and select Copy or Paste from the context menu see Figure 1. Once you have some data saved to the temporary Windows Clipboard, you can paste it into a new location. When youre pasting an event, click on the timeline to move the cursor to the location where you want the pasted event to begin.

    The cursor snaps to the nearest grid line, meaning that the pasted event is snapped into synchronization with the project automatically. Snapping can be turned off F8 , or for more precise placement, you can move the cursor using the left and right arrow keys on your keyboard.

    This allows you to paste an event multiple times quickly, either end to end or with a defined interval between repetitions. To Paste Repeat an event from the Clipboard: 1. Click on the timeline to move the cursor to the location where you want the pasted event to begin.

    In the Paste Repeat dialog, enter the number of times you want the event to be repeated in the Number of Times to Paste box. Select a paste spacing option and enter a spacing interval in the Paste Every box, if applicable. One final pasting technique is the Paste Insert command. This command is very powerful, but it can be a bit intimidating because it shifts events in every track in your project. In short, Paste Insert pastes the Clipboard data into a project at the cursor position, moving every event in every project out of the way and down the timeline to the right.

    Events that are bisected by the timeline cursor are split. To Paste Insert an event from the Clipboard: 1. In a regular Paste operation, the event is pasted directly over anything thats underneath it.

    In a Paste Insert operation, everything is moved out of the way and nothing is overwritten see Figures 1. Paste Insert is related to ripple editing discussed in more detail in the next section , but its unaffected by whether ripple editing is turned on or off. The event that has been copied is highlighted. Ripple Editing Ripple editing, a term taken from the world of film, refers to moving clips out of the way when new clips are inserted earlier in a movie.

    Sometimes called a film-style insert, this means that no footage is lost or covered up by the inserted clip. This process lengthens the total length of the project.

    The result is not unlike executing the Paste Insert command. The important difference is that ripple editing operates on only a single selected track and Paste Insert works on the entire project, as illustrated in Figure 1. Selecting Multiple Events There are three basic ways to select more than one event at a time. The first two are standard Windows operations: Q Press and hold the Shift key to select a range of events.

    In this operation, you click on one event, press the Shift key, and then click on another event. Both events are selected, as well as any events that fall. Q Event Basics between them. This includes events on the same track and events on different tracks. Imagine drawing a rectangle with the two clicked locations defining two of the corners. Every event thats covered by this imaginary rectangle is selected when the Shift key is pressed.

    Q Press and hold the Ctrl key while clicking on multiple events. Every event is selected individually and added to the selected group as long as the Ctrl key is pressed. Clicking a selected event again will deselect it. Click the Selection tool button on the Toolbar, or press the D key to cycle through the various editing tools. To select multiple events, click and draw a rectangle on the timeline, as pictured in Figure 1.

    The rectangle outlined by the dashed line shows which events are selected. Events are selected as the boundaries of the rectangle touch them, across multiple tracks and anywhere in the project. When youre using the Draw tool, you merely need to click and drag to move an event. When youre using the Selection tool, you need to click once to select it, and then click again and drag to move it. This also works when youre selecting multiple events: Click and draw the selection area, release the mouse button, click one of the selected events, and drag to move all of them.

    For example, you could use the Selection tool to select a broad range of events, switch to the regular Draw or Paint tool, press and hold the Ctrl key while going back through the events, and click on the ones you dont want to select.

    Duplicating Events Duplication of events is a close relative of copying and pasting. In combination with selecting multiple events, this is one of the most useful ACID skills you can acquire. Not only is it useful for a repetitive copy-and-paste task involving a single event, but you can duplicate entire sections of a project.

    Repetition in a song is an important structural element that cannot be ignored. Press and hold the Ctrl key and drag the event to a new location.

    The original event remains in place, while a new event is created and moved to a new location. This is essentially a copy-paste operation, all in one quick action. The events in the top part of Figure 1. Then the Ctrl key was pressed as the events were dragged to the right down the timeline. This instantly duplicated all of the events and repeated them, leaving the original events as they were.

    Then the Ctrl key was pressed while dragging one of the events. This instantly duplicated all of the events. Playback and Mixing Playing back a project or part of a project will quickly become second nature as you work with the ACID software. Mixing, on the other hand, is a surprisingly complex skill that cannot be overlooked in any project. Its pretty important to work with volume and panning to control the mix early in a project, but mixing is also probably the last and most important variable to finalize before a song is published or committed to a CD.

    Project Playback You preview a project and play it back by using the Transport controls just below the timeline see Figure 1. What you hear when you play back a project is the sum total of all of the events, as mixed together by the ACID software.

    The position of the playback is indicated both by the timeline cursor and by the position numbers at the top of the Track Header. Q Playback and Mixing Figure 1. Since this is such a common operation, there are a number of important shortcuts that make this process easier: Q Press the Spacebar to start and stop playback at the timeline cursor position.

    Q Press Enter to pause playback. The difference between stopping and pausing is that stopping returns the playback to the original timeline cursor position, while pausing freezes playback at the current position and therefore resumes it from there.

    Q Use looping playback to isolate smaller sections of the project. Looping Playback Looping playback means playing back the same short section of a project over and over. This becomes especially important once a project gets longer than ten seconds or so. Although that short section is playing back over and over, you can simultaneously make small changes to the project and hear the results without delay. Engage looping playback by clicking the Loop Playback button on the Transport bar.

    This is a toggle button: looping is on when this button is clicked. Or press the L key to toggle looping playback on and off. The portion of the project thats looped is indicated by the Loop Region bar at the top of the timeline.

    To create a loop region see Figure 1. Click the Play button on the Transport bar when the timeline cursor is inside of the loop region, or just hit the Spacebar. Playback that begins before the loop region eventually enters the loop region, and looping will occur when playback reaches the end of the region.

    Playback that begins after the loop region never enters the region, and therefore never loops. By monitoring the project visually in the Mixer window, you can prevent clipping errors where the volume is too loud. This can cause distortion and ruin a song. The Mixer window is subdivided into a number of master control panels, each of which has a fader and a small number of other controls.

    Youll use these control panels to adjust the mix and the routing of the audio signal through the ACID application. The controls correspond to similar controls found on mixers in the real world see Chapter 6. By default, the Mixer window displays a Preview control panel and a Master control panel. Although this doesnt affect the mix of the project, the initial volume of a track is determined by the Preview volume. As with the other faders in the Mixer window, a numeric value for the volume is displayed below the fader.

    The Preview control displays both stereo channels, but you cannot divide the fader to control the volume of each channel independently. Q The Master control panel controls the final volume of the overall project.

    You can also add FX to the Master control panel to affect the whole project. The Preview bus and the Master bus are available by default. If you have multiple sound cards, you can create additional busses to route signals through. For example, you could have the entire project routed out one sound card through the Master bus, and have one of the solo tracks route out through another sound card, perhaps to a pair of headphones used to monitor that track. FX and audio plug-ins can also be routed through their own busses.

    To route a bus to specific hardware, click the Playback Device button on the Bus toolbar. Busses can also be routed through other busses. More information on configuring busses is available in Chapter 6. Q Individual tracks can also be assigned to a bus. This is especially useful when you want to group tracks together to apply the same FX scheme to them as a unit.

    Q Busses are named automatically, but you can rename a bus name by double-clicking it and entering a new one. Typically, hardware busses are named using the letters of the alphabet. FX busses are named according to the effect used. The number of FX used on a single bus is indicated by the number at the top of the panel. Clipping Clipping means the volume is too high. This happens when the total volume of all of the events in a mix combine to make the volume greater than 0 dB.

    The problem with this isnt that the volume is too loud and will irritate your neighbor, but that it has exceeded the possible range for the digital data. Information that occurs above this volume level is lost, which generally results in a poor-quality mix. Clipping should be avoided at all costs.

    Indeed, its considered to be a mixing error. Suffice it to say that any volume less than 0. Keeping it below Clipping is displayed as a red decibel warning just above the Mixers Master Meters see Figure 1.

    Normally, the decibel rating displayed in this area is not highlighted in red and serves as a peak volume indicator. The decibel values are reset every time playback is stopped and restarted. To reset these values during playback, click on the peak volume indicator.

    Master Volume The simplest way to solve clipping problems is to lower the Master Volume fader. This fader is divided into two halves, left and right, which control the volume to the left and right stereo channels:. Q Double-click either slider control to align them together if apart.

    Q Use the lock at the bottom of the slider to lock the two halves together relative to one another. Q The up and down arrow keys on the keyboard can be used to control the volume as well. The Master Volume isnt usually the best way to solve clipping problems, although its certainly the easiest way.

    Clipping can often be an indication of a song that needs to be remixed in a more complex way. Since the Master Volume levels reflect the entire frequency spread of a project, clipping and poor mixes can happen because a project has too much bass or treble.

    In other words, clipping can happen even if the project doesnt sound too loud. Volume, panning, and equalization should all be considered as potential solutions to clipping problems. Regardless of whether your project sounds too loud, clipping should always be fixed. Track Volume The way tracks in a project are mixed together is determined by the combined volume of all of the tracks.

    Each track has a Multipurpose Fader that controls the volume by default see Figure 1. Drag the slider left and right to control the volume gain of the track. The precise volume is indicated numerically to the left of the Fader. Since this is a Multipurpose Fader, you can use it to control not only the volume, but also the panning and FX volume of the track. Panning Panning is the balance between the two stereo channels. This is an important and often overlooked aspect of ACID mixes.

    Q Playback and Mixing sound more realistic, as if the performers are actually standing onstage in front of the listener.

    Careful track panning can also add space to a song, making it seem bigger in the room although you dont want it to sound like you have a piano thats fifty feet wide. All in all, panning can be a subtle but important way to improve a song. Fading Events You can fade into or out of individual events by using the fade envelopes on either side of any event.

    Sometimes referred to as ASR Attack Sustain Release envelopes, theyre the easiest way to fade continuous events smoothly. To use ASR, move the mouse cursor over either upper corner of an event. When the cursor changes to the fade envelope icon see Figure 1. The curved line represents the fade, and the duration of the fade is indicated by the grayed-out end of the event. Right-click the fade envelope, , select Fade Type from the context menu, and then select a shape from the submenu.

    You can also access these shapes by right-clicking the upper corner of the fade envelope. You can see the fade cursor and the numeric gain on the left side. You can use them to fade a track in and out gradually, or to move a sound across stereo channels. You can fade effects FX in and out using envelopes.

    Finally, you can use envelopes to fix localized clipping problems without adjusting the entire tracks volume and panning. Envelopes are track-level objects and control the volume and panning of an entire track, but ultimately the track output is controlled by the placement of events within the track. Therefore, envelopes are closely associated with the occurrence of events in a track.

    Envelopes appear as colored lines in tracks on the timeline see Figure 1. A flat line indicates an unchanging volume or panning. By default, all ACID projects can use volume and pan envelopes. FX envelope automation is a powerful reason to do it this way, as opposed to the other ways you can use FX.

    See Chapter 7 for more information. Hold the mouse cursor over a node to see a ToolTip that identifies the envelope. Envelopes are color-coded in the ACID software. Songs can be created, tracks re-mixed, music beds developed, videos scored, and music for Web sites and Flash animations developed.

    The addition of a fully functional mixer environment now allows the software to be seriously considered as a main Digital Audio Workstation DAW application in any studio situation. If you own a Sony music production software and have a user manual in electronic form, you can upload it to this website using the link on the right side of the screen.

    Just what your tracks have been missing till now. ACID processes and saves the latest common file formats for your devices. No one home to celebrate your track? Simply upload your song to ACIDplanet. Listen to other productions. Take part in a remix contest or start a collaboration with one of the other members. View all features. Download the trial version now for free and use it for 30 days. If you decide to keep working with the full version of a program, you can buy and then activate it with the serial number.

    Midi Time Code and Midi clock may be generated for synchronising external sequencers and recorders. Frame-accurate video scoring helps the user compose an original soundtrack for a video inside the ACID software workspace.

    Further enhancements in version 7. Interactive tutorials now included as standard. This site uses cookies to store information on your computer. By continuing we assume your permission to store cookies, as detailed in our privacy policy.

    Menu www. Search term. This item is discontinued.



  • microsoft visio professional 2016 for 1 pc free
  • windows 10 home is free free


  • DEFAULT
    DEFAULT

    Free Sony Software User Guide, Download Instruction Manual and Support



    Files can be text documents. Media files see Figure 1. Audio files are central to the application, of course. Some typical audio file formats that can be used in the ACID application are. Figure 1. A loop is structured so that when its played back, the end of the loop immediately and seamlessly leads back into the beginning of the loop. Most loops can be played over and over again infinitely, sounding as if theyre much longer continuous recordings.

    Loops are normal. This makes them particularly easy to use in the ACID software. You can use Sony Media Software loop libraries with many other multimedia applications, such as video editing applications or Flash animation tools, and loops from other companies can also be used in the ACID software.

    In fact, its a killer app thats so dominant that many other companies produce loop libraries containing the extra musical information needed to integrate with the ACID application. Many other companies also have software that can read media compatible with the ACID software. Over the years, the definition of loop has expanded from its original meaning to include nonrepeating material.

    This material, such as solo sections and vocal quotations from old movies, isnt designed to loop over and over, but its still broadly referred to as a loop when used in loop-based music creation tools.

    In the same way that we no longer dial a telephone number on our pushbutton phones, loops may not always loop infinitely. In any case, loops still tend to be short audio files on a computer that can be put together to make longer and more complex songs. Although loops are the fundamental building blocks of an ACID house, there are other components that well talk about later, such as beatmap songs and video files.

    Lets add a loop to your project. The Explorer window should be visible at the bottom of the program, and it should look very familiar if youve ever used a Windows computer. Click on the hard drive that contains your loops, find the folder where youve stored them, and then drag and drop a media file into the timeline see Figure 1. Youve just created a track. Drag files from Explorer to the timeline to create a track.

    Q Building Blocks Tracks In a bricks-and-mortar studio, engineers record the audio of a song as separate tracks. Physically, tracks are narrow bands on an audiotape that run parallel to each other for the length of the tape.

    Recording the various parts of a song to separate tracks on the same piece of tape means perfect synchronization can be achieved, and the tape can be played back while a new part is recorded to one of the blank tracks. Another feature of this method is that the engineers can adjust and mix the individual tracks to another tape. Musically, a track corresponds to a single part or performance in a song. For example, guitar, drums, and vocals can all be recorded to separate tracks.

    Tracks dont necessarily contain a single voice. For example, a track could contain an entire orchestral wind section or a combined drum and bass section. An ACID track contains one media file. You can use the controls to adjust, mix, and otherwise modify an audio loop with special effects. The number of tracks is unlimited and can include MIDI songs or even video. Every track has a number of important controls in the Track Header section on the left side see Figure 1.

    Many of these controls correspond to faders and knobs typically found on the mixer board in a conventional studio. Many aspects of a tracks appearance can be customized. Track size can be controlled by using the Minimize, Maximize, and Restore buttons in the Track Header. The lower edge of the track in the Track Header can also be dragged to change the size.

    Finally, the vertical scroll bar on the right side can be used to zoom in and out of the timeline, changing the height of all the tracks. Tracks can be all different sizes. The width of the Track Header can be changed by dragging the narrow bar that separates it from the timeline. The track number is simply a numerical indication of the tracks order from top to bottom. The track order, and thus the track number, does not affect the mix or sound of a project.

    Track color can be changed by right-clicking the colored square in the Track Header, selecting Color from the pop-up context menu, and then choosing a color from the sub-menu. The color of the waveform of the events inserted into the timeline is determined this way as well. This color is used for your reference only. One possible idea is to make all bass tracks the same color, all percussion tracks another, keyboard tracks another, and so on.

    The type of track is largely determined by the kind of media file being used such as. Loop tracks are represented with a looped arrow, One Shot tracks with a straight arrow, MIDI tracks with a painters palette, and video tracks with a filmstrip icon.

    Pitch shifting information is also displayed in this area of the track. See Chapter 9, Loops, for a discussion of loop and track types. Q Track NameDefaults to the name of the media file, but can be changed. By default, the name of a track is derived from the name of the source media file.

    You can change this name by double-clicking it and entering a new one. The ACID audio signal can be sent through any number of real devices such as multiple sound cards , virtual devices busses in the ACID software , or effects FX , just as an audio signal can be sent through a device in a real studio such as a guitar through a phaser pedal.

    Although this can seem a bit confusing at first, all of this routing gives you a lot of flexibility and power to control the mix. See Chapter 6 for more information on grouping tracks together into a bus. Q Track FX buttonClick this button to add effects to a track.

    See Chapter 7, FX, for more information on adding and modifying a project with effects. Q Mute and Solo buttonsThese are mutually exclusive buttons that silence a track or make it the only track playing. Click the Solo button on one track to hear only that track. Click another Solo button on another track to hear both of those tracks. Click multiple Solo buttons to play several solo tracks at a time.

    Likewise, click the Mute button on a track to silence it. Multiple tracks can also be muted at the same time. Assignable FX are discussed in greater detail in Chapter 7. Events Events are containers in a track on the timeline and are the most basic unit of editing in the ACID software.

    They contain media files or loops and can be moved, mixed, and modified. Events control the mixing and occurrence of sounds in your project. Think of them as windows into a media file, and dont confuse them with the media files themselves. When you dragged a media file to the timeline, you created a track automatically, but its still empty. Heres how to add your media to the mix and create an event: 1. Make sure the Draw tool, the pencil on the toolbar, is selected see Figure 1.

    Click the track and drag from left to right. As you draw an event, you see the waveform appear, and there are periodic notches in the borders. In Figure 1. The event in the track represents the sound of the media file as a waveform.

    It also controls how the. Media files appear in the Explorer window. When you insert a media file into a project, you add it as a new track. Occurrences of a media file in a project are known as events. Nothing that you do to an event, distortion nor deletion, will ever change the actual media files stored on your computer.

    Instead, events control every aspect of how the ACID software plays back and mixes a sound file into a project and then the final song. Trimming an event does not trim the media file saved on your computer. This kind of non-destructive editing gives you an open license to create aural mayhem on your machine, safe in the knowledge that your source media files arent being modified.

    An event can be shorter than the media file it contains, in which case only a portion of the loop is mixed into the project. Another event can be longer than the loop it contains, in which case multiple repetitions of the loop are mixed into the project. Track 1 top track contains an event thats exactly the same length as the loop file, so it repeats only once. Track 2 uses the same source loop, but its events use only short sections of the total file.

    Track 3 also uses that source loop, but its event is three times longer than the original file and therefore it repeats three times. Right-click the event and select Reverse from the menu, or just press U on your keyboard. Q Projects Figure 1. All You Need to Know And that, in a few pages, is all you need to know: 1. Start a new project. Create some tracks by dragging media files onto the timeline. Draw events on the timeline to create music. If this was all new to you, now is the time to take a break and begin your addiction to the ACID application.

    Otherwise, lets explore some of the details weve glossed over so far. Projects When you edit in the ACID application, youre editing a project with the ultimate goal of rendering a song. The creation, opening, and saving of projects are discussed in detail in this section. The New Project dialog see Figure 1.

    All of the information on the Audio tab is optional. The Audio tab contains properties that affect the quality of the projects output: Q Master bus mode see Chapter 6 determines whether your project is a simple stereo project or in fancy 5. At this point, wed highly recommend that you start out with a stereo project, since that will be complicated enough to mix. Besides, youll certainly want to downmix a 5. Unless you know what youre doing, well save 5. Q Number of additional stereo busses see Chapter 6 determines how many busses are available to group tracks together or for Assignable FX.

    This number depends on your hardware setup such as the number and type of sound cards , and on how many groups of tracks youd like to create. Dont worry if the concept of busses and whether you need them is mysterious at this point; additional busses are easy to create and can be added at any time.

    More information on busses and why you might want to use them is available in Chapter 6. More information on Assignable FX and how they work is available in Chapter 7.

    Q Sample rate is one of the two fundamental parameters that control the final objective quality of the audio file that you render from your project. The sample rate is measured as the number of samples per second Hz. Youll want to select 48,Hz for DVD audio projects.

    Higher numbers mean higher quality and larger final file sizes, while lower numbers make smaller files that may be more suitable for distribution on the Internet.

    Although its convenient to set up a project sample rate in this dialog, its not necessary. The final songs sample rate can be set independently when you render it after the project is finished. Q Bit-depth is the other fundamental parameter that determines the quality of a song, and its measured as the number of bits per sample.

    Having more bits per sample allows you to save more information about the sample, yielding a higher-quality file. Bit-depth is important to both file size and quality, and its discussed in greater detail in Chapter 12, Publishing. For now, a bit-depth of 16 is fine, since thats CD quality and is the bit-depth of most loops.

    If your source media uses a bit-depth of 16, selecting a bit-depth of 24 offers no advantages or improvements in quality. The final file has a small amount of additional information saved in the header, so the actual file size is slightly larger. Saving Your Project Immediately after you create a new project, you can save it as a project file on your hard drive.

    Until you save a project, no information or changes you make will be permanent. To save a project: 1. The first time you do this, the Save As dialog opens.

    Browse for the desired location on your hard disk drive HDD and enter a name for the new project. Click the Save button when youre finished.

    Better to save as frequently as possible than to lose your work due to a power failure or some other glitch. To create a copy of a project, select Save As from the File menu and enter a new name. This is a great way to create different versions of the same song. When youre ready to create a song for general playback on any media player, to burn to a CD, or to publish on the Internet, use the Render As command.

    Change Project Properties Although you can set up the project properties when you create a new project, you can also change these settings at any time. Furthermore, you can always change the settings on the Audio tab when you make a final render: 1. On the Summary tab, enter the optional song composition, engineering, and copyright information. Some audio file formats you create for publication will save this information along with the song. Otherwise, this information is used for your personal reference.

    On the Audio tab, enter the number of additional stereo busses. This is important if you have multiple audio outputs, such as multiple soundcards. Also on the Audio tab, set up the quality of the song. The default settings for the sample rate Hz and bit-depth are 44,Hz These settings can all be changed when you create the final version of the song for publication. For future convenience, select the Start All New Projects with These Settings item to always load new projects with these changes.

    Click the OK button when youre finished. Exploring Loops and Previewing After you start a new project, you see the ACID workspace and a completely empty timeline with no tracks on it. Since events are what you mix into a final song, and theyre created from loops on your computer, locating loops is the first step in creating a song.

    This window looks and operates just like Windows Explorer and is just as easy to use. The left side of the window contains the Tree View, which allows you to browse through drives and folders, while the right side contains the List View, which displays folders and media files. You can and should preview loops while playing back a project, so you can audition them to see if they fit the creative vision for your song. There are a small number of buttons along the top of the Explorer window, pictured in Figure 1.

    Q Exploring Loops and Previewing Q To display information about a selected loop, click the arrow next to the Display button in the Explorer window and select the Summary View item from the menu. Q To preview the selected loop file automatically, click the Auto Preview button in the Explorer window. If you enjoy extra mouse clicks, you can preview loop files manually using the Play and Stop buttons. Q When you have a folder of loops that you particularly like or that you use frequently, click the folder to select it in either the left or right panel and click the Add to Favorites button.

    This creates a shortcut to that folder in the special My Favorites folder, found in the root of the Tree View. Clicking the View button cycles through the different view options, while clicking the arrow next to the button displays a menu of options. The basic routine when youre adding media to a project is to play back the project or loop play a smaller portion of it and preview media files in the Explorer window one at a time possibly using the arrow keys on your keyboard to move, pause, and preview the files in a folder until you find suitable loops.

    Of course, this isnt an entirely random process. As you become more familiar with your loop library, youll be able to zero in on what you need much more quickly. The ACID Explorer window allows you to browse for and preview media files in any location on your computer, including on floppy disks.

    Remember those? Because youll be previewing loops frequently, its highly recommended that you copy your loop libraries to your HDD. Although media files such as loops can take up a lot of space, youll save a lot of time by having them on your HDD. Event Basics Loops and events are the bricks you use to build songs in the ACID software, so creating events is the most important skill to master. Fortunately, it isnt very difficult. For one reason or another, Sony Media Software decided that a drawing or painting metaphor is appropriate for describing event creation in the ACID application.

    This is why the two primary tools used to create events are the Draw and Paint tools. The rest of this section covers all of the basic event operations, such as copying, pasting, and moving them around a project. Therefore, you need to create a new track before you can create an event.

    To create a track, browse for and preview loops in the ACID Explorer window, and then double-click one to create a track. When you add a new track to your project, the ACID application adds it as the last track. You can also add media files to the timeline, creating a new track wherever you drop each file. The easiest tool to use is the Draw tool, which is selected by default when the ACID software is run. This is the default tool, so it may be selected already.

    Then click on the timeline and drag the mouse cursor horizontally from left to right to draw an event, as pictured in Figure 1. Right to left will also work, if you prefer. Events can be any length at all. Most events in a project are based on loops that can be repeated, and therefore theyre contained in loop tracks, which are identified by the loop icon in the Track Header. In summary, to create an event, double-click a media file in the ACID Explorer window to create a track, and then draw the event on the timeline.

    Events that are created in a loop track will loop automatically when the event extends beyond the length of the original media file. A small notch at the top and bottom of the looped event marks each repetition see Figure 1. Q Event Basics Figure 1. The notch at the top and bottom of the event indicates each loop.

    Instead, the event tends to want to begin on one of the vertical grid lines, and tends to want to end on another one. This behavior is called snapping, and its designed to make sure events line up with the projects beat.

    You can toggle snapping on or off by pressing F8. Using the Paint Tool The Paint tool is not unlike the Draw tool, in that you still drag the mouse on the timeline to create events.

    Click the Paint tool button on the Toolbar, or press the D key repeatedly until its selected. Then click on the timeline and drag the mouse cursor horizontally to paint an event. The Paint tool has four uses: Q Painting across tracks. Although the Draw tool only works horizontally within a single track, the Paint tool works across all tracks. This can be a timesaver in some situations, but mostly its just incredibly fun to doodle around with the Paint tool, creating a song instantly.

    Try this out in a live performance, painting events just-in-time before the playback timeline cursor arrives. Q Creating multiple events with a single stroke. Typically this is useful with a short one-shot media file, such as a single kick drumbeat. When you drag the mouse on the timeline while using the Draw tool, a single instance of the loop is drawn no matter how far the mouse is dragged.

    When you use the Paint tool, you create a single event for every grid line that you drag across. By zooming in and out on the project roll your mouse wheel , you can set the grid spacing to be once every measure, once every two beats, once every beat, or some other spacing.

    Then, to use the kick-drum beat example, you could use the Paint tool to quickly insert a kick on beat 1 of every measure, on beats 1 and 3, on every beat, or periodically at any grid spacing you zoom to. Q Erasing. Right-click an event using the Paint tool to erase sections of the event. The amount of the event thats erased is equal to the space between two grid lines, and is therefore dependent on grid spacing and zoom level.

    Snapping must be turned on for this to work. Q Joining events. Events that are split, or that are in separate pieces, can be rejoined by painting across the split or gap between them. Although its not as intuitive to some as the Draw tool, its more powerful in many situations.

    Its a huge timesaver because it synchronizes loops to the beat automatically. Snapping applies not only to moving events, but also to event creation and trimming see Figure 1.

    There will be many times when you wont want an event to snap to the visible grid lines, and there are two main solutions to this: turn off snapping or zoom in on the project. There are three ways to turn off snapping: Q Click the Enable Snapping button on the Toolbar to toggle it on or off.

    Snapping is on when the button is pressed. Q Press the F8 key. This is a shortcut for the Enable Snapping button and toggles this function on or off. Q To disable snapping temporarily, click on an event and then press the Shift key without releasing the mouse button. Now you can drag the event with snapping disabled temporarily. Also notice that the beats in the drum part tend to line up with the grid lines as well.

    This is all automatic as long as snapping is turned on. Moving and Trimming Events You can move events around on a track easily by dragging them. Since each track is associated with a single media file, events must remain within their original track that is, you can only drag events horizontally. Once again, the leading edge of the event snaps back and forth to the grid lines as its dragged.

    You can drag events over other events on the timeline, covering them up. Trimming events is about as easy as moving them. Move the mouse cursor over an event edge. When the cursor changes from a tool icon such as the pencil icon for the Draw tool to the trim cursor see Figure 1. Again, the edge youre trimming snaps to the grid lines. Events that youre trimming are always selected, which is indicated by an event background thats a color other than white.

    Waveforms A waveform is a visual representation of a sound file. Ultimately, you edit in the ACID software by ear, but you can make very precise cuts, splits, and trims simply by looking at the peaks and valleys of a media file or event. Q The size of a peak indicates the amplitude loudness of the sound.

    Q Stereo media files have two parallel waveforms that represent the two stereo channels. The top waveform is the left channel and the bottom waveform is the right channel.

    Q The color of a waveform corresponds to the associated tracks color. You can use waveforms to identify where the beat falls in rhythmic music. The two events in Figure 1. The top track has a spoken-word media file. The bottom track contains a drum part and displays clear periodic peaks in the waveform that line up with the beats marked along the top of the timeline.

    By zooming in and out on the timeline or in another window, you can see more detail in the waveform and make more accurate edits. The ACID software calculates and draws the waveforms of media files at the time of insertion. For short media files like most loop files , this is extremely fast and you might not even notice the delay. The waveforms for longer media files, typically entire songs or the soundtrack to a video file, take much longer to draw.

    In these situations, the ACID application stores the waveform drawing on your hard drive as an. You can delete these small. For example, when you trim a drum part with a kick beat on one, the kick remains on beat one, even though the event gets longer or shorter.

    In slip trimming, the relative distance of the media file from the edge being trimmed remains the same. In other words, the media within the event moves along with the trim and changes relative to the project, the timeline, and the beat. Take a look at Figure 1.

    The top event is the original event. The second track shows what happens if you drag the edge of the event trim it longer. The last track shows the results of a slip trim to the same position.

    The event is the same length as the one in track 2, but the media within the event is in a different position. Notice that the loop notch is also in a different position, and that the mouse cursor is a slip trim cursor. You can see the slip trim cursor on the last event, which is a reversed regular trim cursor. You can engage slip trimming by pressing the Alt key while dragging the edge of an event. Watch for the mouse cursor to change from the regular draw or paint tool cursor to the special slip trim cursor when the Alt key is pressed.

    Shifting the Media Within an Event The media within an event can also be shifted and moved relative to the project while the event itself remains stationary. The track below it has an identical event, but the media within it has been shifted.

    Notice that the waveform of the event in the second track is in a different position than in the first track, even though the event remains in the same position on the timeline. The mouse cursor also changes to a shift cursor. This is simply a variation of slip trimming. Q Event Basics You can shift the media within an event by pressing the Alt key while dragging inside an event.

    The mouse cursor changes to the shift cursor when the Alt key is pressed. Chopper Window The Chopper window is a special tool that you can use to perform a precise trim of a media file and insert the trimmed portion into the timeline. The advantage of using the Chopper window is that you can trim an event in more detail without zooming in on the project timeline.

    There are also a number of other tools in the Chopper window that make trimming easier. The Chopper window displays the entire media file of the selected track. Click on a different track to load a different media file into the Chopper. To trim and insert events into the timeline using the Chopper: 1. Drag the mouse on the waveform in the Chopper window. This creates a selection region thats highlighted.

    Position the timeline cursor on the main timeline where you would like the new event to be inserted. In the Chopper window, click the Insert button. You can see in Figure 1. There are many more features, including but not limited to markers, regions, and spacing out events at regular intervals. See Chapter 4, Polishing Up, for more information on trimming events using the Chopper, creating interesting variations on a media file by splitting it up creatively.

    Zooming helps you work on the timing of your project in more detail. At extreme levels of zooming, you can make microsecond-level and even sample-level changes in event placement and trimming. Zooming also subdivides the project into finer grid lines see Figure 1. The second example is zoomed in a bit, and the grid lines fall on each beat. The final example is zoomed in much further and shows even more detail in the pictured event. There are a number of different zooming methods.

    Zooming in on the timeline horizontally means that less time is visible, but you can see more detail in the waveforms. Zooming out horizontally shows more of a project and gives you an overview of the song. Vertical zooming changes the track height. More information on zooming is found in Chapter 2, Getting Around.

    As with Windows, copying or cutting an event places the data on the Windows Clipboard temporarily. The Copy, Cut, and Paste items are all available on the Edit menu. Copying leaves the original event on the track, while cutting removes it. You can also right-click an event and select Copy or Paste from the context menu see Figure 1. Once you have some data saved to the temporary Windows Clipboard, you can paste it into a new location. When youre pasting an event, click on the timeline to move the cursor to the location where you want the pasted event to begin.

    The cursor snaps to the nearest grid line, meaning that the pasted event is snapped into synchronization with the project automatically. Snapping can be turned off F8 , or for more precise placement, you can move the cursor using the left and right arrow keys on your keyboard.

    This allows you to paste an event multiple times quickly, either end to end or with a defined interval between repetitions. To Paste Repeat an event from the Clipboard: 1. Click on the timeline to move the cursor to the location where you want the pasted event to begin. In the Paste Repeat dialog, enter the number of times you want the event to be repeated in the Number of Times to Paste box. Select a paste spacing option and enter a spacing interval in the Paste Every box, if applicable.

    One final pasting technique is the Paste Insert command. This command is very powerful, but it can be a bit intimidating because it shifts events in every track in your project. In short, Paste Insert pastes the Clipboard data into a project at the cursor position, moving every event in every project out of the way and down the timeline to the right.

    Events that are bisected by the timeline cursor are split. To Paste Insert an event from the Clipboard: 1. In a regular Paste operation, the event is pasted directly over anything thats underneath it. In a Paste Insert operation, everything is moved out of the way and nothing is overwritten see Figures 1. Paste Insert is related to ripple editing discussed in more detail in the next section , but its unaffected by whether ripple editing is turned on or off.

    The event that has been copied is highlighted. Ripple Editing Ripple editing, a term taken from the world of film, refers to moving clips out of the way when new clips are inserted earlier in a movie.

    Sometimes called a film-style insert, this means that no footage is lost or covered up by the inserted clip. This process lengthens the total length of the project. The result is not unlike executing the Paste Insert command. The important difference is that ripple editing operates on only a single selected track and Paste Insert works on the entire project, as illustrated in Figure 1. Selecting Multiple Events There are three basic ways to select more than one event at a time.

    The first two are standard Windows operations: Q Press and hold the Shift key to select a range of events. In this operation, you click on one event, press the Shift key, and then click on another event. Both events are selected, as well as any events that fall. Q Event Basics between them. This includes events on the same track and events on different tracks. Imagine drawing a rectangle with the two clicked locations defining two of the corners. Every event thats covered by this imaginary rectangle is selected when the Shift key is pressed.

    Q Press and hold the Ctrl key while clicking on multiple events. Every event is selected individually and added to the selected group as long as the Ctrl key is pressed. Clicking a selected event again will deselect it.

    Click the Selection tool button on the Toolbar, or press the D key to cycle through the various editing tools. To select multiple events, click and draw a rectangle on the timeline, as pictured in Figure 1.

    The rectangle outlined by the dashed line shows which events are selected. Events are selected as the boundaries of the rectangle touch them, across multiple tracks and anywhere in the project. When youre using the Draw tool, you merely need to click and drag to move an event. When youre using the Selection tool, you need to click once to select it, and then click again and drag to move it. This also works when youre selecting multiple events: Click and draw the selection area, release the mouse button, click one of the selected events, and drag to move all of them.

    For example, you could use the Selection tool to select a broad range of events, switch to the regular Draw or Paint tool, press and hold the Ctrl key while going back through the events, and click on the ones you dont want to select.

    Duplicating Events Duplication of events is a close relative of copying and pasting. In combination with selecting multiple events, this is one of the most useful ACID skills you can acquire. Not only is it useful for a repetitive copy-and-paste task involving a single event, but you can duplicate entire sections of a project. Repetition in a song is an important structural element that cannot be ignored. Press and hold the Ctrl key and drag the event to a new location.

    The original event remains in place, while a new event is created and moved to a new location. This is essentially a copy-paste operation, all in one quick action. The events in the top part of Figure 1. Then the Ctrl key was pressed as the events were dragged to the right down the timeline. This instantly duplicated all of the events and repeated them, leaving the original events as they were. Then the Ctrl key was pressed while dragging one of the events.

    This instantly duplicated all of the events. Playback and Mixing Playing back a project or part of a project will quickly become second nature as you work with the ACID software. Mixing, on the other hand, is a surprisingly complex skill that cannot be overlooked in any project. Its pretty important to work with volume and panning to control the mix early in a project, but mixing is also probably the last and most important variable to finalize before a song is published or committed to a CD.

    Project Playback You preview a project and play it back by using the Transport controls just below the timeline see Figure 1. What you hear when you play back a project is the sum total of all of the events, as mixed together by the ACID software.

    The position of the playback is indicated both by the timeline cursor and by the position numbers at the top of the Track Header. Q Playback and Mixing Figure 1. Since this is such a common operation, there are a number of important shortcuts that make this process easier: Q Press the Spacebar to start and stop playback at the timeline cursor position.

    Q Press Enter to pause playback. The difference between stopping and pausing is that stopping returns the playback to the original timeline cursor position, while pausing freezes playback at the current position and therefore resumes it from there.

    Q Use looping playback to isolate smaller sections of the project. Looping Playback Looping playback means playing back the same short section of a project over and over. This becomes especially important once a project gets longer than ten seconds or so. Although that short section is playing back over and over, you can simultaneously make small changes to the project and hear the results without delay.

    Engage looping playback by clicking the Loop Playback button on the Transport bar. This is a toggle button: looping is on when this button is clicked. Or press the L key to toggle looping playback on and off. The portion of the project thats looped is indicated by the Loop Region bar at the top of the timeline.

    To create a loop region see Figure 1. Click the Play button on the Transport bar when the timeline cursor is inside of the loop region, or just hit the Spacebar. Playback that begins before the loop region eventually enters the loop region, and looping will occur when playback reaches the end of the region. Playback that begins after the loop region never enters the region, and therefore never loops.

    By monitoring the project visually in the Mixer window, you can prevent clipping errors where the volume is too loud. This can cause distortion and ruin a song. The Mixer window is subdivided into a number of master control panels, each of which has a fader and a small number of other controls. Youll use these control panels to adjust the mix and the routing of the audio signal through the ACID application. The controls correspond to similar controls found on mixers in the real world see Chapter 6.

    By default, the Mixer window displays a Preview control panel and a Master control panel. Although this doesnt affect the mix of the project, the initial volume of a track is determined by the Preview volume. As with the other faders in the Mixer window, a numeric value for the volume is displayed below the fader.

    The Preview control displays both stereo channels, but you cannot divide the fader to control the volume of each channel independently. Q The Master control panel controls the final volume of the overall project. You can also add FX to the Master control panel to affect the whole project. The Preview bus and the Master bus are available by default. If you have multiple sound cards, you can create additional busses to route signals through.

    For example, you could have the entire project routed out one sound card through the Master bus, and have one of the solo tracks route out through another sound card, perhaps to a pair of headphones used to monitor that track. FX and audio plug-ins can also be routed through their own busses. To route a bus to specific hardware, click the Playback Device button on the Bus toolbar. Busses can also be routed through other busses. More information on configuring busses is available in Chapter 6.

    Q Individual tracks can also be assigned to a bus. This is especially useful when you want to group tracks together to apply the same FX scheme to them as a unit. Q Busses are named automatically, but you can rename a bus name by double-clicking it and entering a new one. Typically, hardware busses are named using the letters of the alphabet. FX busses are named according to the effect used.

    The number of FX used on a single bus is indicated by the number at the top of the panel. Clipping Clipping means the volume is too high. This happens when the total volume of all of the events in a mix combine to make the volume greater than 0 dB. The problem with this isnt that the volume is too loud and will irritate your neighbor, but that it has exceeded the possible range for the digital data. Information that occurs above this volume level is lost, which generally results in a poor-quality mix.

    Clipping should be avoided at all costs. Indeed, its considered to be a mixing error. Suffice it to say that any volume less than 0. Keeping it below Clipping is displayed as a red decibel warning just above the Mixers Master Meters see Figure 1.

    Normally, the decibel rating displayed in this area is not highlighted in red and serves as a peak volume indicator. The decibel values are reset every time playback is stopped and restarted. To reset these values during playback, click on the peak volume indicator. Master Volume The simplest way to solve clipping problems is to lower the Master Volume fader.

    This fader is divided into two halves, left and right, which control the volume to the left and right stereo channels:. Q Double-click either slider control to align them together if apart. Q Use the lock at the bottom of the slider to lock the two halves together relative to one another. Q The up and down arrow keys on the keyboard can be used to control the volume as well.

    The Master Volume isnt usually the best way to solve clipping problems, although its certainly the easiest way. Clipping can often be an indication of a song that needs to be remixed in a more complex way.

    Since the Master Volume levels reflect the entire frequency spread of a project, clipping and poor mixes can happen because a project has too much bass or treble. In other words, clipping can happen even if the project doesnt sound too loud. Volume, panning, and equalization should all be considered as potential solutions to clipping problems. Regardless of whether your project sounds too loud, clipping should always be fixed. Track Volume The way tracks in a project are mixed together is determined by the combined volume of all of the tracks.

    Each track has a Multipurpose Fader that controls the volume by default see Figure 1. Drag the slider left and right to control the volume gain of the track. The precise volume is indicated numerically to the left of the Fader.

    Since this is a Multipurpose Fader, you can use it to control not only the volume, but also the panning and FX volume of the track.

    Panning Panning is the balance between the two stereo channels. This is an important and often overlooked aspect of ACID mixes. Q Playback and Mixing sound more realistic, as if the performers are actually standing onstage in front of the listener.

    Careful track panning can also add space to a song, making it seem bigger in the room although you dont want it to sound like you have a piano thats fifty feet wide. All in all, panning can be a subtle but important way to improve a song. Fading Events You can fade into or out of individual events by using the fade envelopes on either side of any event. Sometimes referred to as ASR Attack Sustain Release envelopes, theyre the easiest way to fade continuous events smoothly.

    To use ASR, move the mouse cursor over either upper corner of an event. When the cursor changes to the fade envelope icon see Figure 1. The curved line represents the fade, and the duration of the fade is indicated by the grayed-out end of the event.

    Right-click the fade envelope, , select Fade Type from the context menu, and then select a shape from the submenu. You can also access these shapes by right-clicking the upper corner of the fade envelope. You can see the fade cursor and the numeric gain on the left side.

    You can use them to fade a track in and out gradually, or to move a sound across stereo channels. You can fade effects FX in and out using envelopes.

    Finally, you can use envelopes to fix localized clipping problems without adjusting the entire tracks volume and panning. Envelopes are track-level objects and control the volume and panning of an entire track, but ultimately the track output is controlled by the placement of events within the track. Therefore, envelopes are closely associated with the occurrence of events in a track. Envelopes appear as colored lines in tracks on the timeline see Figure 1.

    A flat line indicates an unchanging volume or panning. By default, all ACID projects can use volume and pan envelopes. FX envelope automation is a powerful reason to do it this way, as opposed to the other ways you can use FX. See Chapter 7 for more information. Hold the mouse cursor over a node to see a ToolTip that identifies the envelope.

    Envelopes are color-coded in the ACID software. In an actual project, an event would also be inserted somewhere in this track to take advantage of this rather artificially complex tangle of envelopes.

    Without an event, theres no output from a track, and therefore no reason to automate the volume, panning, or FX with envelopes. Then select the type of envelope to insert or remove such as volume. Then, from the submenu, select the envelope that you want to remove.

    Active envelopes have check marks next to them. Envelopes can remain active that is, affect a tracks output and still be invisible. You can instantly show or hide the volume and pan envelopes by pressing the V or P key. These shortcut keys insert new envelopes if a track doesnt already have an active envelope of the corresponding type.

    It never removes an envelope, however. Hidden envelopes continue to affect the project, but theyre out of view and protected from unintentional changes. Q Creating MP3 Files The small square boxes on an envelope are called nodes and are used as animation key points.

    An envelope is always a straight line between two nodes, indicating a smooth animation of the volume or panning see Figure 1.

    Each of the envelopes has two visible nodes with a straight envelope line between them. You can easily modify envelopes and nodes with just a few clicks: Q Double-click an envelope to add a node. Q Drag nodes up or down to change the volume or panning.

    You can also drag the line between two nodes to move both simultaneously. Q Drag nodes left or right to reposition them. This means that when events are moved within a track, the envelopes and nodes dont necessarily move with them.

    To make sure envelopes move with events, click the Lock Envelopes to Events button. Up to this point, the project has been saved as an ACID project file. In order to make the song available universally, you need to save it to a standard multimedia file format. The process of creating a multimedia file from a project file is called rendering.

    The format that you choose affects the size of the media file, the quality, and how accessible it is to others: Q If you want to create an audio CD that others can play on their home stereos or car CD players, the standard Windows.

    The quality is very high, but these files are far too large to e-mail to friends or post on the Internet. Small file sizes at the price of some quality make this format ideal for e-mail and iPods as well. This certainly isnt the only format you can use, nor is it necessarily the best.

    Its very widespread, however, and its an excellent format if you want to share your song with others. To render an MP3, follow these steps: 1. Choose a format from the Save As Type list. In this case, choose MP3 Audio. Enter a name for the song in this format: mysong. The projects name is the default name.

    Choose a compression template from the Template list. This is a complex balancing act between quality and file size, with the size increasing the higher the quality. For now, Kbps, CD Quality Audio is a good choice, yielding a fairly small file with acceptable quality. Browse for a location to save the file, and click the Save button. Q Chapter 1 Quiz Render times can vary, depending on the length and complexity of the project, but typically it takes only a few seconds. Video renders can be significantly longer.

    Rendering formats, maximizing quality versus compression, and tweaking all of the various settings for rendering are covered in much more detail in Chapter Chapter 1 Quiz 1. The ACID software automatically loads a project: 1. When you select New 2. When you first run the application 3.

    When you save 4. The ACID software never automatically loads a project. You can have an unlimited number of tracks in the ACID software. To add effects to your track, click the: 1. Mute button 2. Solo button 3. Device select button 4. Track FX button. Everything that you do to an event changes the media files stored on your computer. Events created in a loop track will: 1. Loop automatically 2. Loop after you complete a complicated series of steps 3.

    Never loop 4. None of the above. You can select multiple events in the ACID software by: 1. Touch and Latch are new modes, which help you easily record automations during playback.

    All temporal imprecisions can be corrected using keyframes at the end. Don't worry about the how and where — use your mouse or an external MIDI controller for your keyframes and record automations in Stereo or in 5. Disc at once and Track at once burn processes. You can simply activate it with the serial number after the purchase. Gracenote MusicID shows key information including, title, artist, and song name, and also submit data. Just what your tracks have been missing till now.

    ACID processes and saves the latest common file formats for your devices. No one home to celebrate your track? Simply upload your song to ACIDplanet. Listen to other productions. Take part in a remix contest or start a collaboration with one of the other members.

    View all features. Download the trial version now for free and use it for 30 days. If you decide to keep working with the full version of a program, you can buy and then activate it with the serial number. The activated full version can be used in complete range of features with no limits. B Close. Download the trial version now for free and get started.



  • Packs para ableton live 9 suite free
  • Microsoft teams download windows 10 dell
  • Graphics card for windows 10 64 bit
  • Autodesk revit 2019 software free
  • Avid sibelius 8 download free download




  • DEFAULT
    DEFAULT

    3 comment
    Akinomi post a comment:

    All rights reserved. No part of this book may be reproduced or transmitted in any form or by rpo means, electronic or mechanical, including photocopying, recording, or sony acid pro 7 manual pdf free any information storage or retrieval system without written permission from Thomson Aacid Technology PTR, except for the inclusion of brief quotations in a review. Please mankal the appropriate software manufacturers technical support line or Web site for assistance. Thomson Course Technology PTR and the sony acid pro 7 manual pdf free have mannual throughout this book to distinguish proprietary trademarks from descriptive terms by following the capitalization style used by the manufacturer.

    Information contained in this book has been obtained by Thomson Course Technology PTR from sources believed to be reliable. However, because of the possibility of human or mechanical error by our sources, Thomson Course Technology PTR, or others, manuao Publisher does not guarantee the accuracy, adequacy, or completeness of any information and is not responsible for any errors or omissions or the results obtained from use of such information.

    Readers should be particularly aware of the fact that the Internet is an ever-changing entity. Some facts may have changed since this book went to press. Educational facilities, companies, and prf interested in multiple copies or licensing manjal this book should contact the publisher for quantity discount information. Training manuals, CD-ROMs, and portions of this book are also available individually or can be tailored for specific needs.

    Foreword Respected author and speaker D. David knows that to fully appreciate the power and flexibility of ACID Pro software as it is today, you must first understand its roots, and why it remains the music creation application by which all others are judged.

    Before ACID Pro software, even simple sny and recording required hiring talented musicians, booking studio time, and spending a lot of money. ACID Pro software changed all that with the launch of version 1.

    With its straightforward interface and intuitive pick, pri, and play functionality, ACID Pro software made professional audio composition and editing accessible to anyone with a PC. Word of this revolutionary new tool spread fast, and musicians and producers everywhere embraced the ACID Pro aid as an essential component of composition, recording, editing, and production. Version 5 features three new patent-pending technologies: Groove Mapping and Groove Cloning quantization tools, and the powerful Media Manager technology.

    These new technologies forge exciting new music creation territory, giving you creative potential and flexibility that is unmatched by any other program. Other new features include native VST effects wcid, nestable folder tracks, ReWire device support, and real-time event reverse.

    In this book, D. From the basics of song creation to incorporating the ACID Pro tools into your live performance, youll fere the tricks of the trade and achieve mannual professional results. If you want to create songs, remix tracks, produce 5. Acknowledgments First, Id like to say thanks ;ro all who worked on this prp, getting it to press a little over a week after Sony Media Software officially released the application.

    Very impressive. I wish to acknowledge Sean Medlock for making sure I write real good and keeping me on task. Andy Saff made significant contributions to the editing, and Mnual Garvey did a splendid job mankal propelling this project forward. Thanks go out to Orren Merton for creating the fun and thought-provoking quizzes at the end of each chapter.

    Although I rarely worked directly with the layout staff, I want to publicly say that I think the book looks great. Thanks, gang. Gentlemen, I wish we had more time and more pages. About the Author D. Ssony Franks is an author and speaker who teaches multimedia production and post-production techniques to folks all over the world.

    Hes published a half-dozen books and several hundred sony acid pro 7 manual pdf free articles. Franks currently supports his ACID software addiction need more loop libraries! He spends his weekends working on a film on that will probably never get a public screening, if indeed it is ever finished at all.

    Contents Introduction. Getting Around. Mid-Song Key Changes. Polishing Up. Recording Vocals and Instruments. Mastering the Mix. Recommendations on FX Placement. FX Dictionary. The ability to create professional-quality music, using just about any modern computer, is now in the hands sony acid pro 7 manual pdf free the masses. ACID software is ackd yet simple. First and foremost, its fun.

    The very first time you fire it up, you can produce something that sounds pretty good. In fact, if you havent already done so, put sony acid pro 7 manual pdf free book down and go try it out! This initial ease and simplicity masks the fact that ACID software is a powerful and professional-level tool thats ideally suited to song composition and film scoring, among other uses. This book comprehensively covers these higher-level features and shows you how to use ACID software in real-world situations.

    Whether youre a new-wave multimedia designer creating engrossing content for the Net or an oldschool producer in a traditional recording studio, this book will teach you how to take full advantage of the ACID application. And get this: ACID software can sony acid pro 7 manual pdf free you make money too! The ACID 5 software from Sony Media Software is the most popular and advanced loop-based music creation and remixing tool ever created.

    It mwnual require any particular musical talent other than a good ear, and needs no special equipment other than a basic computer. The ACID application is a fully vree standalone tool, and yet it meshes perfectly with studio hardware and other software multimedia applications.

    Its stunningly easy to create catchy tunes within an hour of installing this artistic tool. And it all starts with the loop. Loops are short sections of music or a performance, saved as standard media files on your computer.

    Theyre the building blocks manuall an ACID song. The first loops were created by physically attaching short sections of magnetic audio tape end to end. These loops were recorded in such a way that when they ended, they immediately began playing again at the start of the file, potentially forever. Hence the term loop. Todays versions arent literally loops, but they perform the same function. Recorded by professional musicians, sony acid pro 7 manual pdf free allow you to take a drumbeat, a bass line, and a lead instrument melody and assemble them into a new and original composition.

    Because there are many thousands of loops available, sony acid pro 7 manual pdf free creative possibilities are almost endless.

    And because the individual loops are created by some of the worlds top musical talents, the quality is top-shelf. It doesnt even matter whether you can pri a note yourself or not. But ACID software isnt just a crutch for folks with little or no musical ability; the program also helps performers create their own loops and thus expand their range of tools and expression. The ACID application is primarily a musicians tool, with a focus on song creation and multi-track mixing, but many other professionals and serious hobbyists will find it extremely useful.

    ACID software is ideally suited for multimedia professionals who need to create original music for Shockwave and Flash manula. Ive found this to be a lucrative avenue.

    Video and film professionals will find no tool thats better suited to scoring. Acie and mixmasters can use the ACID application to remix songs in amazing new ways, even in demanding mnual exciting live performance venues. And of course, studios and musicians will find. The ACID software is so simple to use, and yet its powerful effects enable you to create truly professional material. One of the most amazing aspects of the ACID software is its sony acid pro 7 manual pdf free of use.

    Dont let that fool you: Theres a lot going on under the hood. Beat matching, tempo adjustment, key matching, and mixing are only a xony of the things that you may never notice as you use the ACID 77. Once youve explored the program for a while, get ready for the next level, with complex effects, digital video, MIDI, cutting-edge compression algorithms, CD burning, 5. Thats what this book is about. About This Book This book takes you beyond the basics and explains guru-level procedures that utilize the ACID 5 application to its fullest potential.

    Aciid ACID application is more sony acid pro 7 manual pdf free a toy, although it can be more fun than a video game. This book is targeted at the intelligent multimedia professional who is ready to use ACID software on the job, as well as the hobbyist who wants a serious artistic tool. The clear and solid examples in the first few chapters will quickly allow the less technically inclined reader to express his creativity more fully. On the other hand, technically savvy non-musicians will find the chapters on introductory manuql theory invaluable as they move beyond playing around with the ACID sony acid pro 7 manual pdf free and into serious music composition.

    And for those who are maual both with software and in the studio, this book will explain the most efficient techniques for maximizing the power of the ACID application. This book is going to start sony acid pro 7 manual pdf free the fun stuff. Immediately after you install the program and before your read another wordyou really should play around with it for a bit. The first goal of this book is to familiarize you with the nuts and bolts of the ACID software.

    Thanks to the well thought out user interface UI and program workflow, you can master the ACID application fairly quickly. The second goal of this book is to go beyond the basics maanual into true music creation. Most people never create a song thats more than acld bunch of loops that sound good sony acid pro 7 manual pdf free, layered track over track.

    It shouldnt end there, however. Just as a good story or novel has an arresting introduction, a dynamic exposition, a shocking conclusion, and a satisfying denouement, a good song has structure as well. To use another analogy, just because you can type doesnt mean you can write a great novel. The middle section of this book focuses on music and music theory, with a heavy emphasis on how to expresses your musical ideas effortlessly using the ACID software.

    The final goal of this book is to get into some of the more technical aspects of the ACID tools. From burning industry-standard CDs to producing highly compressed MP3 files for the Internet, publishing and sharing your music is the ultimate goal. In the process, spny book will cover everything you need to know about maximizing the quality of your music after the creative process rree over.





    JoJogor post a comment:

    View online ( pages) or download PDF (6 MB) Sony Acid Pro Operating instructions • Acid Pro graphics software PDF manual download and more Sony. ACID Pro 7 Quick Start Manual. • Keyboard command shortcut list. • One-year subscription to. ACIDplanet ProZone. For a complete list of ACID Pro 7 features.





    Kazikus post a comment:

    View online ( pages) or download PDF (6 MB) Sony Acid Pro Operating instructions • Acid Pro graphics software PDF manual download and more Sony.