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It was a loop -based music sequencerin which Acid Loop files could be simply drag-and-dropped then automatically adjust to the game compressed highly download pc strike counter source and key of a song with virtually no sony acid pro 7 manual free degradation. A website for budding musicians using Acid technology was set up, named AcidPlanet.

The software became majual popular in the late s and early s among composers, producers, and DJs interested in quickly creating beats, music textures, or complete compositions and orchestrations, that would work with virtually any tempo or key signature.

The update came with new modern features including an enhanced interface, support for bit, additional samples, VST3 support, over 20 DirectX audio effects, the ability to mix in 5. Versions do dree exist for macOS or Linux.

Acid Loop trademarkalso Acidized or Acidified loop generic termsrefers to a sound clip which can frde repeated and transposed to form a song with minimal manual adjustment.

Acidized loops contain tempo and key information, so that Acid can properly time-stretch and pitch-shift the clip to fit into an existing перейти structure. An Acidized loop is a specially prepared WAV audio file, which can be created using an audio-editing tool such as Sound Forge. The technology was created in for Sonic Foundry ‘s original Acid pH1 software.

Sony and Страница later sony acid pro 7 manual free series of Acidized loop sample CDs to be used with Acid Pro, as have various third-party companies.

Since then, this looping technique has been adopted by the majority of other digital audio workstations on the market, sometimes with competing brand names for the feature, such as Cakewalk Sonar calling it Groove Clipsand Cubase calling it Audio Warp. Sony acid pro 7 manual free Wikipedia, the free encyclopedia. Digital audio workstation. This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources.

Unsourced material http://replace.me/6750.txt be challenged and removed. Music portal Record production portal. Archived from the original on January 26, Retrieved December 17, Audio editing software. Comparison of digital audio editors Comparison of free software for audio List of sony acid pro 7 manual free software List of Linux audio software Comparison of MIDI editors and sequencers. Comparison Category. Digital audio workstations. Portal : Music.

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Sony acid pro 7 manual free

 
/2/7 年3月末日をもちまして、駐車券の配布を終了させていただくこととなりました。 なお、年4月1日よりクレジットカード情報をアプリに登録することで会計待ちをせずにご帰宅できる、キャッシュレス決済アプリをご利用いただけるようになり. Sep 05,  · Free alternative for Office productivity tools: Apache OpenOffice – formerly known as replace.me – is an open-source office productivity software suite containing word processor, spreadsheet, presentation, graphics, formula editor, and database management applications. ScpToolkit is a free Windows Driver and XInput Wrapper for Sony. daytona speeder x. daytona speeder에서 새롭게 탄생한 미들 킥 타입의 「daytona x」가 라인업에 합류.차원 높은 스피드감을 계승하여, 매끄럽고 쉬운 스윙감을 추구한 프리미엄 모델을 패션잡지 등,수많은 잡지사에서 편집장을 맡아온 잭 타카하시氏, .

 
 

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The procedures described here are the fundamentals. Well talk about laying down tracks, trimming, and mixing, among other things. Along the way, well define the terms and illustrate them with a host of examples. The best way to use this chapter is to turn on your computer, run the ACID software, put this book in your lap, and try the procedures as you read.

Some procedures are so easy that they wont seem worth the trouble, but you might as well go ahead and try them anyhow. Why not?

Theyre a breeze. Besides, well be describing concepts throughout this book that simply cannot be understood without hearing them for yourself. Well start at the beginning, lay down some tracks, and do a little mixing.

The final section explains how to save a song so that you can publish it and share it with others. From start to finish, this chapter shows you how to begin a project and output a final song.

Were going to start with four quick definitionsprojects, loops, tracks, and eventsand then immediately move into practical examples. One of the primary goals of this book is to be motivational, to get you excited about the ACID application and ultimately about music.

Dont worry, well get to work soon enough. But if you havent played around with the application yet, close this book, run the program, use the Explorer window to find your loops, and drag-and-drop a few into your timeline.

Well see you back here in a few hours. Its important to understand what the program, the manual, and the Help mean when referring to program-specific terms, since the meaning of each term might be quite different from how its used in the real world although those real-world meanings often offer a clue. Here are a few fundamental ideas that need to be discussed. When you first run the application, a new project is loaded automatically.

Every time you use the software, youre working on a project. The projects youll save on your computer contain all of the information about your composition, such as the key, tempo, and audio files used.

Project files control every aspect of your song, including which sounds are used, how theyre mixed together, and what effects modify the sound. ACID project files have the. That is, they cannot be opened or played back in any other applications. Although a project saves information about your composition and the sounds that make it up, a project file is not a song and cannot be played back as such on a media player, over the Internet, or on a CD player.

The great thing about working with projects, instead of editing actual audio files on your computer, is that youre not actually changing any media files on your computer. This editing process is nondestructive, and it lets you edit and experiment with sounds without fear of changing the original media files.

You primarily edit ACID project files and not loops or media files although you can do that as well. When youre done with your project, which is made up of loops, media files, and effects, you can save it to another format that can be burned to a CD or published on the Internet. This is called rendering, and its the process of creating an actual song.

Actually, since the ACID software is also a video-scoring tool, the final render might even create a new movie file. Select Save from the File menu and type a name for your project.

Its become a habit. I save all the time, reflexively, especially when something aurally wonderful has just happened youll know when. Periodically Ill save versions of a project as I work, especially when its taking a new sonic direction. I just tag an , , to the end of the filename, methodically.

That way, I always have something to go back to if a particular path gets hopelessly muddled. My motto is: Save early, save often. Q Building Blocks So, if you havent done so yet, lets start a project. If you have the ACID application running right now, youre in a project already.

This opens the New Project dialog. Youll learn some more details about some of the other parts of the New Project dialog in just a few pages. The first thing you want to do is save: File menu, Save. The first time you do this, youll have to enter a filename and then click OK. Excellent: You now have a perfectly silent musical composition.

Media Files and Loops A file is the most basic unit a typical computer user works with. 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. Take your production to the next level with innovative and fun sample tools.

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All Features. Subscription and cancellation conditions: ACID Pro will be available immediately after payment and activation. The charge for the minimum term is payable as a single sum upon conclusion of the contract. Topics: stl, Other, strap, thingiverse, bike, flashlight. Set 1: Intro Gimme Some Lovin’ Passenger Ramble On Rose Harder They Come Mexicali Blues Mission In The Rain Set 2: Uncle John’s Band 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. Clicking on two events separated by other events while holding the Shift key 2. Clicking on multiple events while holding the Ctrl key 3. Using the Selection tool and drawing a rectangle over multiple events 4. All of the above. Familiarity with the ACID interface is critical to getting the most out of this software.

The ACID workspace is logical and efficient, and its designed with a specific workflow in mind. Understanding this workflow and the underlying design will maximize your ACID experience.

Fortunately, learning how to use the workspace, or user interface UI , is a simple process. In later chapters, well explain individual controls and windows more fully as they become relevant. Significant portions are taken directly from Microsoft Windows design principles. This isnt theft on the part of the Sony Media Software engineers, but rather a good use of tools that youre already familiar with. Getting to know the overall layout will make using the ACID software and reading this book easier.

The three major sections are as follows: Q Menus and Toolbar. These are standard Windows features that youre probably comfortable using.

The menus contain very nearly all of the commands that control the ACID software. The toolbar contains a smaller subset of more frequently used commands and can be customized to display your choice of buttons.

Q Timeline. Timelines are nearly universal in multimedia and animation applications. Time increases as you progress toward the right side of the timeline, allowing you to align events in a project visually. Although its not a part of the timeline proper, the Track Header contains many special controls.

Q Window Docking Area. Below the timeline is the Window Docking Area. This is a broad catchall area that can contain all of the smaller sub-windows that do the real work in the ACID application.

These subwindows dont need to remain in this lower region. You can drag them anywhere on the screen you want. The main menus at the top of the UI are the most complete list of available commands in the software. The ACID application makes extensive use of shortcuts to speed up editing. Many of these shortcuts follow standard Windows conventions. Beyond the standard Windows commands, each ACID menu shortcut is identified to the right of that command.

For example, you can display all of the various windows in ACID instantly by using the commands on the View menu, or by using the associated keyboard shortcuts. Figure 2. Although you can navigate most ACID menus using keyboard shortcuts, only a limited subset of commands have hotkey shortcuts that can be executed without navigating menus.

Or, press V at any time. This is where your project is laid out, left to right, in chronological order. The various sounds or loops that you use to create a song are mixed together in tracks from top to bottom. Theres no hierarchy to the tracks, as far as dominance in your mix is.

All loops that overlap vertically are mixed together to form the audio thats played back from the ACID software. The timeline is made up of many separate parts see Figure 2. The basic layout of the timeline is functional and easy to get used to: Q ACID tracks correspond to audio tracks in the real world. In a traditional recording studio, a recording engineer can record multiple parts in a studio session to different tracks on a tape: lets say a drum track, a saxophone track, a bass guitar track, and a piano track.

Since each track is independent of the others, the engineer can then modify and mix those tracks individually. ACID tracks operate in a similar way, but theyre actually much more versatile. Q The timecode at the upper left of the UI specifies the current position of the timeline cursor Time at Cursor in a selected format, including specific measure and beat information.

Q You can adjust the tempo and key of the project in the area just below the Track Header. You can change the particular units that are displayed according to your personal preferences. Q The Zoom and Scroll bars are important and easy to use, allowing you to see more detail in a project or navigate quickly to a new location. There are two basic cursors in the ACID software. One is the standard Windows mouse cursor, which most frequently appears as an arrow.

In the application, the straight vertical line that runs from the top to the bottom of the timeline is the timeline cursor. Q Timeline Navigating the Timeline Moving forward and back on the timeline moves you forward and back through time in your project. The timeline cursor marks the current position and is the focus of any actions that you take. For example, when you press the spacebar, the project begins playing back from the timeline cursors position.

Clicking anywhere in the timeline area moves the timeline cursor to that position. Horizontal Scrolling Through Time You can navigate the timeline by using the horizontal scroll bar at the bottom. This allows you to view different parts of the project, and its independent of the timeline cursor that is, the timeline cursor doesnt always need to be on the screen. Q Use the arrow buttons on either end of the scroll bar to move left or right through a project.

Q Drag the scroll bar to move left or right. Q Press and hold the Shift key and use your mouse wheel to move left or right. Vertical Scrolling Through Stacked Tracks Eventually, a project will have enough tracks stacked up that its difficult to view all of them at once. Many Windows applications now take advantage of the mouse wheel for scrolling and zooming. I dont want to sound like a mouse salesman, but once youve used a mouse with a wheel, youll wonder how you ever lived without it.

This is doubly true in ACID 5. Q Use the arrow buttons at the top and bottom of the vertical scroll bar. Q Drag the vertical scroll bar up and down. Q Press and hold the Ctrl key and use your mouse wheel to move up and down. Name the new folder track and then drag any tracks you want into the new hierarchy. You can group your tracks however youd like, for example, grouping all percussion parts or vocals together.

The Minimize and Maximize buttons then collapse and expand the tracks to conserve space and make your projects more manageable. Fortunately, zooming is very easy, especially if you have a mouse with a wheel button. Zooming in on a project allows you to see greater detail in an events waveform, or perform edits within very small fractions of a second, right down to the audio sample level. Zooming out allows you to get a better overall feel for a project, allows for much faster navigation, and lets you copy large sections of the project and paste them to other locations.

Q Drag the edge of the horizontal scroll bar. Q Use the mouse wheel button. A mouse wheel is the easiest tool to use for zooming. Track Zooming Less important than project or timeline zooming is track-level zooming. Q Drag the edge of the vertical scroll bar. Transport Controls The transport controls see Figure 2. Youll use these buttons to move the timeline cursor around on the timeline, and to control playback and recording in a project.

A few transport controls are also available in the Explorer and Chopper windows. Tracks Tracks are the equivalent of audio tracks in a multi-track recording environment. Each track is associated with a particular media file, whether audio, video, or MIDI. Tracks can control effects, volume, panning, and other important aspects of how the ACID software mixes a media file into a project.

Each track has two major parts: the Track Header on the left, and the timeline portion of the track on the right see Figure 2. The Track Header serves as the control panel for the track, with volume faders and FX controls, and is analogous to the track controls on a mixer board in a recording studio. The main timeline portion of the track is where the song is drawn and most editing takes place. If you want to help expand our database, you can upload a link to this website to download a user manual or service manual, ideally in.

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