Sony ACID User Manual

After the ACID software is installed and you start it for the first time, the registration wizard appears. This
wizard offers easy steps that allow you to register the software online with Sony Pictures Digital Media
Software and Services. Alternatively, you may register online at http://www.sony.com/mediasoftware at any
time.

Registering your product will provide you with access to a variety of technical support options, notification
of product updates, and special promotions exclusive to registered ACID users.

Registration assistance

If you do not have access to the Internet, registration assistance is available during normal weekday business
hours. Please contact our Customer Service department by dialing one of the following numbers:

Telephone/Fax Country

1-800-577-6642 (toll-free) US, Canada, and Virgin Islands

[phone] for all other countries

1-608-250-1745 (Fax) All countries

Customer service/sales

For a detailed list of customer service options, we encourage you to visit

http://mediasoftware.sonypictures.com/support/custserv.asp. Use the following numbers for telephone

support during normal weekday business hours:

Telephone/Fax Country

1-800-577-6642 (toll-free) US, Canada, and Virgin Islands

[phone] for all other countries

1-608-250-1745 (Fax) All countries

Technical support

For a detailed list of technical support options, we encourage you to visit

http://mediasoftware.sonypictures.com/support/default.asp. To listen to your support options by telephone,

please call 608-256-5555.

About your rights in ACID software

ACID software is licensed to you under the terms of the End User License Agreement. The End User License
Agreement is first presented to you when you install the software. Please review the End User License
Agreement carefully as its terms affect your rights with respect to the software. For your reference, a copy of
the End User License Agreement for ACID software is located at http://www.sony.com/mediasoftware.

About your privacy

Sony Pictures Digital respects your privacy and is committed to protecting personal information. Your use of
the software is governed by the Software Privacy Policy. A copy of this policy is incorporated into the
registration process and you are asked to agree to its terms prior to accepting the terms of the End User
License Agreement. Please review its contents carefully as its terms and conditions affect your rights with
respect to the information that is collected by the software. For your reference, a copy of the Software
Privacy Policy is located at http://mediasoftware.sonypictures.com/corporate/privacy.asp.

Proper use of software

ACID software is not intended and should not be used for illegal or infringing purposes, such as the illegal
copying or sharing of copyrighted materials. Using ACID software for such purposes is, among other things,
against United States and international copyright laws and contrary to the terms and conditions of the End
User License Agreement. Such activity may be punishable by law and may also subject you to the breach
remedies set forth in the End User License Agreement.

Legal notices

Vegas, Vegas+DVD, DVD Architect, Vegas Movie Studio, Vegas Movie Studio+DVD, DVD Architect Studio, ACID, Music Studio, ACIDized,
Sony Sound Series, Chopper, Groove Mapping, Groove Cloning, Media Manager, CD Architect, Sound Forge, Audio Studio, Acoustic Mirror,
Noise Reduction, Wave 64, Wave Hammer, and XFX are trademarks or registered trademarks of Sony Pictures Digital Inc. or its affiliates in the
United States and other countries.

Sony Pictures Digital Inc. may have patents, patent applications, trademarks, copyrights, or other intellectual property rights covering subject matter
in this document. Except as expressly provided in any written license agreement from Sony Pictures Digital Inc., the furnishing of this document does
not give you any license to these patents, trademarks, copyrights, or other intellectual property.

Thomson Fraunhofer MP3

MPEG Layer-3 audio coding technology licensed from Fraunhofer IIS and Thomson.

Supply of this product does not convey a license nor imply any right to distribute content created with this product in revenue generating broadcast
systems (terrestrial, satellite, cable and/or other distribution channels), streaming applications (via internet, intranets and/or other networks), other
content distribution systems (pay-audio or audio on demand applications and the like) or on physical media (compact discs, digital versatile discs,
semiconductor chips, hard drives, memory cards and the like).

An independent license for such use is required. For details, please visit: http://mp3licensing.com.

Microsoft DirectX programming interface

Portions utilize Microsoft® DirectX® technologies. Copyright © 1999 – 2004 Microsoft Corporation. All rights reserved.

Microsoft Windows Media 9

Portions utilize Microsoft Windows Media® technologies. Copyright © 1999 – 2004 Microsoft Corporation. All rights reserved.

Real, RealMedia, RealAudio, and RealVideo applications

2004 RealNetworks, Inc. Patents Pending. All rights reserved. Real®, Real Media®, RealAudio®, RealVideo®, and the Real logo are trademarks or
registered trademarks of RealNetworks, Inc. in the United States and other countries.

MPEGLA and MPEG 2

USE OF THIS PRODUCT IN ANY MANNER THAT COMPLIES WITH THE MPEG-2 STANDARD IS EXPRESSLY PROHIBITED
WITHOUT A LICENSE UNDER APPLICABLE PATENTS IN THE MPEG-2 PATENT PORTFOLIO, WHICH LICENSE IS AVAILABLE
FROM MPEG-LA, LLC, 250 STEELE STREET, SUITE 300, DENVER, COLORADO 80206.

Manufactured under license from MPEG-LA.

Dolby, Dolby Digital AC-3, and AAC encoding

This product contains one or more programs protected under international and U.S. copyright laws as unpublished works. They are confidential and
proprietary to Dolby Laboratories. Their reproduction or disclosure, in whole or in part, or the production of derivative works therefrom without the
express permission of Dolby Laboratories is prohibited. Copyright 1992 – 2004 Dolby Laboratories. All rights reserved.

Dolby®, the double-D symbol, AC-3®, and Dolby Digital® are registered trademarks of Dolby Laboratories. AAC™ is a trademark of Dolby
Laboratories.

A special note concerning the use of the Dolby Digital trademark:

Dolby Laboratories encourages use of the Dolby Digital trademark to identify soundtracks that are encoded in Dolby Digital. This is an effective way
to inform listeners of the soundtrack format, and the use of a standard logo promotes easy recognition in the marketplace. However, like any
trademark, the Dolby Digital logo may not be used without permission. Dolby Laboratories therefore provides a standard trademark license agreement
for companies who wish to use Dolby trademarks. This agreement should be signed by the company that owns the program material being produced.
Recording studios or production facilities which provide audio production or encoding services for outside clients generally do not require a
trademark license.

If you would like more information on obtaining a Dolby trademark license, please contact Dolby Laboratories Licensing Corporation. Information
on trademark licensing plus instructions for using the Dolby Digital trademark and marking audio formats can also be found on-line at http://
www.dolby.com.

Dolby Laboratories Licensing Corporation
100 Potrero Ave.
San Francisco, CA 94520 USA
Phone: [phone]
Fax: [phone]
E-mail: [e-mail]
http://www.dolby.com

PNG file format

Copyright © 2004. World Wide Web Consortium (Massachusetts Institute of Technology, European Research Consortium for Informatics and
Mathematics, Keio University). All rights reserved. This work is distributed under the W3C Software License in the hope that it will be useful, but
WITHOUT ANY WARRANTY; without even the implied warranty of MERCHANTIBILITY or FITNESS FOR A PARTICULAR PURPOSE.

http://www.w3.org/Consortium/Legal/2002/copyright-software-20021231.

Apple QuickTime

Apple® QuickTime® application is a trademark of Apple, Inc. in the United States and other countries.

Apple Macintosh Audio Interchange File Format (AIFF) file format.

Apple® Macintosh® Audio Interchange™ File Format (AIFF) is a trademark of Apple, Inc. in the United States and other countries.

Targa file format

The Targa™ file format is a trademark of Pinnacle Systems, Inc.

Tagged Image File Format (TIFF)

Adobe Tagged Image™ File Format is a registered trademark of Adobe Systems Incorporated in the United States and other countries. All rights
reserved.

Main Concept encoder

Main Concept® plug-in is a trademark of registered trademark of Main Concept, Inc. in the United States or other countries. All rights reserved.

Steinberg Media Technologies

Cubase®, VST®, and Nuendo® are registered trademarks of Steinberg Media Technologies GmbH.

ASIO™ is a trademark of Steinberg Media Technologies GmbH.

Macromedia Flash

Macromedia and Flash are trademarks or registered trademarks of Macromedia, Inc. in the United States and/or other countries.

Sony Pictures Digital Inc.

Media Software and Services

1617 Sherman Avenue
Madison, WI 53704
USA

The information contained in this manual is subject to change without notice and does not represent a
guarantee or commitment on behalf of Sony Pictures Digital Inc. in any way. All updates or additional
information relating to the contents of this manual will be posted on the Sony Pictures Digital Media
Software web site, located at http://www.sony.com/mediasoftware. The software is provided to you under the
terms of the End User License Agreement and Software Privacy Policy, and must be used and/or copied in
accordance therewith. Copying or distributing the software except as expressly described in the End User
License Agreement is strictly prohibited. No part of this manual may be reproduced or transmitted in any
form or for any purpose without the express written consent of Sony Pictures Digital Inc.

Copyright 2004. Sony Pictures Digital Inc.

Program Copyright 2004. Sony Pictures Digital Inc. All rights reserved.

Table of Contents

Introducing ACID Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Welcome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13

System requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13

Using this manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Installing ACID software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Using online help. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14

Online help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

What’sThis? help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Help on the Web . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Overview of ACID software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15

1

Main window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Track list . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Track view . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Window docking area . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Keyboard command reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Audio signal flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

MIDI signal flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Getting Started. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Starting projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33

Setting project properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Opening existing projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Getting media files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

Previewing media from the Explorer window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Adding media to the project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

TABLE OF CONTENTS

2

Understanding track types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Loops . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

One-shots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Beatmapped . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Folder tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Adding and editing events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Painting events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Changing the length of events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Erasing sections of events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Moving events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Using the cursor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Positioning the cursor with the mouse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Positioning the cursor with the keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Positioning the cursor with the Go To command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Making selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Selecting an event . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Selecting multiple events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Creating time selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Creating event selections within time selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46

Working with tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Reordering tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Resizing tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Changing track colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Renaming tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Duplicating tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Deleting tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Copying, cutting, and pasting tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Adjusting the mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Muting tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Soloing tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Working with groups of tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Using undo and redo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Using undo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Undoing all edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Using redo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Clearing the undo history . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Playing the project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Using the transport bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Using playback options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

TABLE OF CONTENTS

Using the Mixer window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

Viewing the Mixer window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

Using the mixer toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

Renaming mixer controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Using the mixer’s faders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Saving, rendering, and delivering projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Saving projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Rendering projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Publishing to the Internet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Writing to CD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Editing Events. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Copying events. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .65

Pasting events. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Using the Paste command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Using Paste Repeat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Using Paste Insert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Cutting events. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

3

Deleting events. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68

Reversing events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68

Trimming events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Splitting events. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Splitting at the cursor position . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Splitting an event . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Splitting multiple events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Splitting a time selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Splitting events within a time selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Joining events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Ripple editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Cutting events in ripple editing mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71

Deleting events in ripple editing mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Pasting events in ripple editing mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73

Slipping and sliding events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Shifting the contents of (slipping) events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Slip-trimming events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Sliding events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Changing event properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .75

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Using event envelopes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Setting an event’s volume envelope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Setting an event’s fade-in and -out envelope curve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Creating crossfades between events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Using the Media Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Creating a new media library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Opening a media library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Adding media files to a library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Removing media files from a library. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Tagging media files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Creating a tag . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Applying a tag to a media file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Removing a tag from a media file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Deleting a tag from a library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Merging subtags . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Arranging tags in the tag tree . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Editing tag names or images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Viewing or creating palettes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Saving tags and properties to media files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Backing up your media libraries. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Opening a Reference Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Using the Sony Sound Series Loops & Samples reference library . . . . . . . . . . . . . . . . . . . . . . . . 87

Searching for media files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Searching using a keyword . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Searching using tags . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Sorting search results . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Viewing previous searches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Using advanced search options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Previewing media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Adding media to your project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Resolving offline media files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

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Customizing the Media Manager window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Automatically hiding the Search pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .93

Docking and undocking the Search pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Resizing columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Moving columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Showing or hiding columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Adding custom columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Setting Media Manager options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Working in the Track View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Using project markers and regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .97

Working with standard markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Working with time markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Working with command markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .99

Working with regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

Using snapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .103

Choosing snapping options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104

Changing tempo, time signature, and key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104

5

Changing project tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Changing project time signature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Changing project key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Working with tempo/key/time signature change markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Changing a track’s key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Changing an event’s key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108

Adjusting time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108

Inserting time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108

Fitting to time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108

Using the Chopper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Working in the Chopper window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .109

Viewing the Chopper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Changing the Chopper grid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .109

Changing Chopper snapping options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .109

Magnifying the Chopper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .110

Previewing in the Chopper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .110

Using Chopper toolbar and keyboard commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Inserting markers and regions in the Chopper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .111

Creating selections in the Chopper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .111

Placing files in the Chopper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Creating selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .111

Creating selections of a specific musical length . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .112

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Inserting increments. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

Creating increments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Creating increments of a specific musical length . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Creating increments of a custom musical length . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Inserting selections in the track view. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Using the Insert Selection button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Using copy and paste . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Dragging selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Moving the insert position in the track view . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Saving Chopper selections as new files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Using the Chopper with one-shots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Working with Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Using track effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Using ACID FX as track effects in ACID Music Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Using track effects in ACID Pro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Using track envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

Adding track envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

Adjusting envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

Using the Envelope tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

Hiding track envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Removing track envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Choosing stereo pan types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

Using the Beatmapper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

Understanding stretching properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Configuring track properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Adjusting general track properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Adjusting stretching properties for loop or Beatmapped tracks . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Adjusting track properties for MIDI tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

Reloading files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

Replacing files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

Saving file properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

Working with grooves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

Applying or removing grooves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136

Creating grooves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138

Editing grooves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140

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Using folder tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141

Creating a folder track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141

Adding existing tracks to a folder track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .141

Removing tracks from a folder track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141

Muting a folder track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142

Soloing a folder track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142

Editing events in a folder track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .142

Mixing multiple tracks to a single track. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .142

Exporting loops . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .143

Using the Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145

Using busses. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .145

Adding busses to the project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145

Routing tracks to busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145

Routing busses to system hardware . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146

Deleting busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .146

Using assignable effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .147

7

Adding assignable effect controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147

Working with assignable effects chains . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148

Routing tracks to assignable effect controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148

Routing assignable effect controls to busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .148

Deleting assignable effect controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .148

Using soft synth controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

Adding soft synth controls to projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150

Modifying soft synth control properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .150

Deleting soft synth controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .154

Routing MIDI tracks to soft synth controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .154

Using mixer controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

Working with mixer controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

Adding effects to soft synth mixer controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .156

Working with multiple mixer controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160

Automating mixer controls in track view . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .160

Working with ReWire . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .161

Using ACID software as a ReWire mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

Using ACID software as a ReWire device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162

Recording in ACID Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

Recording audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .165

Setting ACID recording properties. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .166

Setting recording levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167

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Recording multiple takes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168

Reviewing and saving takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168

Working with MIDI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169

Adding MIDI tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169

Adding MIDI files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169

Creating new MIDI files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169

Recording MIDI tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170

Changing MIDI track properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171

Pitch shifting MIDI tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171

Setting root notes for MIDI tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171

Working with tracks in a MIDI file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

Previewing MIDI files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

Using the piano roll editor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

Viewing the piano roll editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

Previewing MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

Selecting MIDI tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

Adding note events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

Editing note events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177

Toggling note snapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180

Quantizing note events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180

Deleting note events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181

Undoing and redoing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181

Saving MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181

Using the list editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182

Viewing the list editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182

Previewing MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182

Filtering the list . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

Editing events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

Creating events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188

Step recording events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188

Quantizing events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190

Deleting events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190

Undoing and redoing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190

Saving MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190

Loading third-party OPT plug-ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191

Saving, reloading, or replacing MIDI files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192

Routing MIDI tracks to MIDI devices or soft synth controls . . . . . . . . . . . . . . . . . . 192

Resetting MIDI ports. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193

Rendering projects with MIDI tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193

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Playing MIDI from external devices. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .193

Adding external devices as MIDI inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193

Assigning MIDI inputs to soft synth controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .194

Synchronizing using MIDI timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .195

Generating MIDI timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .195

Triggering from MIDI timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196

Generating MIDI clock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197

Working with Video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199

Managing video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .199

Adding or replacing video files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199

Removing the video track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .199

Hiding and showing the video track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199

Synchronizing audio and video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199

Removing the video’s audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200

Changing frame numbering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .200

Editing video events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .200

9

Moving video events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .200

Trimming video events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .200

Slipping and sliding video events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .200

Using the Video window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .201

Using toolbar buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

Using the shortcut menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

Viewing the status bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

Previewing on external monitors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .202

Scoring video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .202

Working with 5.1 Surround. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203

What is 5.1 surround?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .203

Setting up surround hardware . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .204

Setting up surround projects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .204

Routing to hardware in the mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205

Assigning audio to the LFE channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .206

Panning audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .206

Panning tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207

Panning mixer controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207

Using the Surround Panner window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208

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Automating panning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210

Turning on panning keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210

Adding panning keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211

Working with keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211

Rendering surround projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213

Burning AC-3 files to DVD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214

Customizing ACID Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215

Working with ACID windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215

Docking and floating ACID windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216

Changing the time ruler format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

Using the ruler offset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

Using the project grid. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218

Setting the grid type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218

Using the toolbar. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219

Hiding and displaying the toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219

Reordering toolbar buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219

Adding buttons to the toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220

Removing buttons from the toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220

Using the time display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221

Changing cursor position . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221

Changing the time display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221

Monitoring MIDI timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222

Setting default track properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222

Setting ACID preferences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223

Using the General tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223

Using the Audio tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225

Using the MIDI tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226

Using the VST Effects tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226

Using the VST Instruments tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

Using the ReWire Devices tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

Using the Video tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

Using the Editing tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228

Using the Sync tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228

Using the Keyboard tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230

Using the Display tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230

Using the Other tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

Using the Folders tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

TABLE OF CONTENTS

ACID Tips and Tricks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233

Adding long media files quickly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233

Playing with duplicate tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .233

Detuning paired tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .233

Duplicating with offset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234

Creating ping-pong pan effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .234

Adding depth with assignable effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .235

Playing double time/half time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .235

Constructing the wall of sound. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

Adding through subtraction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .236

Tweaking the dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .236

Fading in and out of mixes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .236

Adding build ups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237

Creating wah-wah effects with automated Track EQ. . . . . . . . . . . . . . . . . . . . . . . .237

Making automated changes more stark. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237

11

Abruptly changing volume or pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .237

Turning automated effects on and off . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238

Making automated frequency changes more natural . . . . . . . . . . . . . . . . . . . . . . .238

Overriding compress/expand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239

Slicing and dicing in the Chopper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .239

Chopping new loops for alternate time signatures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .239

Chopping multiple files into a new loop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .239

Creating drum-roll build ups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .240

Creating drum fills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .240

Creating one-track remixes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .240

Creating DJ-style crossfades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .240

Creating pseudo-granular synthesis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

Building instrument solos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

Building scales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .241

Glossary. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243

Index. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . i

TABLE OF CONTENTS

12

TABLE OF CONTENTS

CHAPTER

Introducing ACID Software

1

1

Welcome

Congratulations on purchasing a revolutionary software application for Microsoft® Windows®. With
ACID® software from Sony Pictures Digital, you can create great music by simply picking, painting, and
playing.

System requirements

The following lists the minimum system requirements for using the ACID software:

• Microsoft Windows 2000 or XP

• 800 MHz processor (1 GHz if using video)

• 200 MB hard-disk space for program installation

• 600 MB hard-disk space for optional Sony Sound Series Loops & Samples™ reference library installation

• 256 MB RAM

• Microsoft Windows-compatible sound card

• 1024x768 screen resolution

• CD-ROM drive (for installation from a CD only)

• Supported CD-Recordable drive (for CD burning only)

• Microsoft DirectX® 8.1 or later

• Internet Explorer 4.0 or later (version 5.0 included on ACID CD)

13

Using this manual

This manual is provided to assist both ACID Pro and ACID Music Studio users. For this reason, product
features exclusive to ACID Pro software are identified throughout the manual using the following icon:

In addition, issues and features that pertain only to ACID Music Studio software are identified by the
following icon:

Note:

ACID application throughout this manual are taken from
ACID Pro software. If you are using ACID Music Studio
software, your windows and dialogs may appear slightly
different.

CHP. 1 INTRODUCING ACID SOFTWARE

Unless otherwise noted, the pictures you’ll see of the

14

Installing ACID software

Prior to installing the software, we recommend that you exit all open applications and temporarily turn off
any virus protection.

1.

Insert the CD-ROM. The setup screen appears (if CD-ROM AutoPlay is enabled).

Note:

If CD-ROM AutoPlay is not enabled, click the

button and choose

appears, type the CD-ROM drive’s letter and add

:\setup.exe. Click OK to start the installation.

2.

Click Install. The installation process begins.

3.

Follow the on-screen prompts to install the appropriate version of the software for your computer.

Run. In the Run dialog that

Note:

Windows Installer is used for all versions of
Windows. Windows Installer is installed and then you are
asked to restart your system.

Using online help

You can access two varieties of help within ACID software:

• Online help

• What’sThis? help (also referred to as context-sensitive help)

Online help

To access online help, choose Contents and Index from the Help menu or press .

Note:

To view online help, Internet Explorer 4.0 or later
must be installed on your system. If you purchased the ACID
Pro or ACID Music Studio boxed version, Internet Explorer
version 5.0 is included on your CD-ROM.

Toolbar
Tabs

F1

Information
pane

INTRODUCING ACID SOFTWARE CHP. 1

The Contents tab provides a list of available help topics. Double-click a closed book ( ) to open the pages
and then click a topic page ( ).

The

Index tab provides a complete listing of the help topics available. Scroll through the list of available

topics or type a word in the

Type in the keyword to find box to quickly locate topics related to that word. Select

the topic and click .

The

Search tab allows you to enter a keyword and display all of the topics in the online help that contain the

keyword you have entered. Type a keyword in the

Type in the word(s) to search for box and click . Select

the topic from the list and click .

The

Favorites tab allows you to keep topics that you revisit often in a separate folder. To add a topic to your

favorites, click on the

Favorites tab.

What’sThis? help

What’sThis? help allows you to view pop-up window descriptions for ACID menus, buttons, and dialog
boxes. Choose

What's This? from the Help menu, press , or click the What’sThis? help button ( ) on

Shift +F1

the toolbar and then click any ACID item. To use What’sThis? help in a dialog box, click the question mark
button ( ) in the upper-right corner of the dialog box and then click an item in the dialog box.

Help on the Web

Additional ACID information is available on the Sony Pictures Digital Media Software Web site. From the

Help menu, choose Sony on the Web, and choose the desired location from the submenu. The software starts

your system’s Web browser and attempts to connect to the appropriate page on the Sony Web site.

15

Overview of ACID software

ACID music creation software is designed to be powerful and flexible, yet easy to use. Many of the ACID
operations, menu items, and shortcut keys are common to other Sony Pictures Digital applications.

The following sections provide a tour of the ACID work area.

Main window

The ACID workspace includes three main areas: the track list, the track view (or timeline), and the window
docking area. The other parts of the interface are tools and features used while creating and working with
your project. You can resize the track list, track view, and window docking area by dragging the dividers
between them.

CHP. 1 INTRODUCING ACID SOFTWARE

16

Track list

Window
docking
area

Divider

Timeline

Track view

Divider

INTRODUCING ACID SOFTWARE CHP. 1

Toolbar

The toolbar allows you to quickly access the most commonly used functions and features in ACID software.

17

Opens a new project. You will be prompted to save
any changes to the current project.

Displays the Open File dialog. From this window,
you can browse all of the available drives to select
an ACID project or audio file to open.

Saves any changes to the current project.
The first time you save a project, the Save As dialog
appears.

Opens the Publish wizard so you can share your
ACID creation on the Web.

Clears the selected items from the track view and
places them on the ACID clipboard. You can then
paste them to a new location.

Creates a copy of the selected items from the track
view on the ACID clipboard. You can then paste
them to a new location.

Inserts the contents of the ACID clipboard at the
current cursor position. The pasted items cover any
existing events. To make room for pasted events,
choose Paste Insert from the Edit menu.

Reverses the last action performed. Unlimited
undos are supported, allowing you to restore the
project to any state since the last save.

Reverses an undo. Opens a dialog where you can download media from the

Turns the snapping feature on or off. With
snapping enabled, you can decide whether to snap
to the grid or to all elements (markers, regions,
etc.).

Locks envelope points so they move with an event
when it is moved along the timeline.

Activates the Metronome to keep time during
recording and playback.

Activates the Draw tool to add and edit events.

Activates the Selection tool to select multiple events.

Activates the Paint tool to insert events across multiple
tracks.When used in conjunction with the Ctrl key, the
Paint tool can paint an entire one-shot, MIDI, or
Beatmapped media file to an event with one click.

Activates the Erase tool to erase events or parts of
events. When used in conjunction with the Ctrl key, the
Erase tool can erase an entire one-shot, MIDI track, or
Beatmapped track event with one click.

Activates the Envelope tool to select and modify
envelope points.

Activates the Time Selection tool to quickly select all
events within range of time.

Activates the Groove tool to apply a groove to a track.
You can use grooves to manipulate the timing of tracks
by quantizing media to predefined grooves or by
applying the feel of one track to another. Available

only in ACID Pro software.

Activates the Groove Erase tool to erase grooves or
parts of grooves. When used in conjunction with the
Ctrl key, the Groove Erase tool can erase an entire
groove event. Available only in ACID Pro software.

Internet.

Opens a frequently updated Web page containing special
offers, tips, tricks, and other good stuff. Note: This
button is displayed on the toolbar by default in ACID
Music Studio™ software only. To add this button to
your toolbar in ACID Pro software, choose Customize
Toolbar from the Options menu.

Opens the Show Me How Tutorials, which explain some
of the basic tasks you can perform within ACID
software. Available only in ACID Music Studio

software.

Activates What’sThis? help to obtain information about
a specific option, menu, or part of the ACID window.

CHP. 1 INTRODUCING ACID SOFTWARE

18

Track list

This list identifies the track order in your project and contains the track’s controls. The following sections
identify and briefly explain the controls located in the track list.

Bus assignment

Track number/type

Track name

View buttons

View buttons

These buttons control the track’s appearance (size) on the track list and the track view.

Track number and type

This area identifies the type of file (loop, one-shot, MIDI, Beatmapped) contained in the track as well as the
track’s number in the project. You can quickly change the track order by dragging selected tracks within the
track list.

Track FX

Mute

Solo

Surround panner (surround projects only)

Multipurpose slider

Multipurpose slider mode

Track type icons

Loop

One-shot

Beatmapped

MIDI

Tra ck n a me

When you add a file to a project, the track name is initially the same name as the file’s name. Right-click the
track name and choose

Bus assignment

Rename from the shortcut menu (or double-click) to change the track name.

Clicking the Bus Assignment button ( ) and selecting a letter from the menu allows you to assign the
corresponding track to the specified output bus. However, the button is only available in projects containing
multiple busses. For more information, see Adding busses to the project on page 145.

On a MIDI track, the

Device Selection button ( ) appears instead of the Bus Assignment button. This button

allows you to route a MIDI track to a soft synth or MIDI device. For more information, see Routing MIDI tracks

to MIDI devices or soft synth controls on page 192.

Track FX button

The Track FX button ( ) accesses the Audio Plug-In window from which you can add, edit, and apply effects
to the track. For more information, see Using track effects on page 117.

INTRODUCING ACID SOFTWARE CHP. 1

19

Mute button

Clicking the Mute button ( ) temporarily suspends playback of the corresponding track, allowing you to
focus on the project’s remaining tracks. A muted track appears grayed out in the track view. For more

information, see Muting tracks on page 49.

Solo button

Clicking the Solo button ( ) isolates the track during playback by muting the project’s remaining tracks. For
more information, see Soloing tracks on page 50.

Surround panner

In 5.1 surround projects, the surround panner allows you to view and edit surround panning settings for a
track. Double-click a surround panner to view the Surround Panner window and make fine panning
adjustments. For more information, see Working with 5.1 Surround on page 203.

Multipurpose slider

This multipurpose slider allows you to control the following:

• A track’s volume relative to the project’s other tracks.

• A track’s placement in the stereo spectrum (panning).

• The level of the track’s signal being routed to each of the project’s busses.

• The level of the track’s signal being routed to an assignable effect control.

The multipurpose slider defaults to displaying a track’s volume control. ACID tracks are preset to -6.0
decibels (dB), but the volume range is -inf. to 12 dB. Each track’s slider position is independent from the
others; however, you can move sliders simultaneously by selecting multiple tracks before making your
adjustment. If you do not see this slider, expand the track.

You may choose what the slider controls by clicking the slider label. Changing the slider type for one track
changes it for all tracks so you can compare levels of the same control across the project. For more

information, see Adjusting the mix on page 48.

Track view

In the track view, you can view and edit the events in a track. The area in which events display is the
timeline. The track view contains other elements which are described in the following sections.

Loop bar

Marker bar

Beat ruler

Zoom controls

Tran sp or t

CHP. 1 INTRODUCING ACID SOFTWARE

Time ruler

(if displayed)

20

Marker bar

The marker bar runs the length of your project and contains the tags for markers and regions positioned
along the project’s timeline.

Beat ruler

The beat ruler allows you to place events in reference to the musical time of bars and beats. This ruler is fixed
and does not update when you change the tempo. This allows the events in the tracks to maintain their size
when you adjust the tempo.

Time ruler

The time ruler provides a timeline for your project. This ruler can show real time in many different formats.
For more information, see Changing the time ruler format on page 217. The ruler changes with tempo, since the
number of beats and beats per second of real time changes with tempo.

Tra n s por t b ar

The transport bar contains the playback and cursor positioning buttons frequently used while working on
your project.

Record new track Pause/resume project playback

Loop playback Stop playback

Play from beginning of project Move cursor to start of project

Play project from cursor position Move cursor to end of project

The software also includes keyboard shortcuts for these playback commands. For more information, see

Playback commands on page 26.

Zoom controls

To the right of the horizontal scroll bar are the time zoom controls. Clicking the Zoom In Time button ( )
increases the horizontal magnification of the project. To decrease the level of magnification, click the

Out Time button ( ).

Directly below the vertical scroll bar are the dedicated track height zoom controls. Clicking the

button ( ) increases the vertical magnification of the project. To decrease the level of magnification,

Height

click the

Zoom Out Track Height button ( ).

Note:

Double-clicking the horizontal or vertical scroll bars

Zoom In Track

Zoom

adjusts the magnification so that as much of the project (either
horizontally or vertically) is displayed as possible.

Click the

Zoom Tool button ( ) in the corner of the track view to temporarily change the cursor into the

Zoom tool. After you select an area of the track view to magnify, the cursor reverts to the previously active
tool.

Note:

Double-clicking the Zoom tool adjusts both the
horizontal and vertical magnification so that as much of the
project is displayed as possible.

INTRODUCING ACID SOFTWARE CHP. 1

Window docking area

This area allows you to keep frequently-used windows available while working on a project. Windows can be
docked side by side or in stacks in the windows docking area. For more information, see Docking and floating

ACID windows on page 216.

Click the Close button to remove a
window from a floating dock or the
window docking area.

Click the Maximize/Minimize
button to control the size of
the window in the window
docking area.

Click the handle to drag a
window to a different
location or dock.

Click a tab to
view a window.

The default windows display in the window docking area when you start ACID software for the first time.
Additional windows can be displayed by clicking the window’s tab or by choosing the desired window from
the

View menu.

21

Tip:

You can quickly hide or show the window docking area

by pressing .

F11

The available windows can be docked anywhere at the bottom of the ACID window or floated over the
ACID window or on a secondary monitor (this setup requires a dual-monitor video card). You can also
create floating docks anywhere by dragging more than one window to the same area.

Explorer window

The Explorer window works similarly to the Windows® Explorer. You can use the Explorer window to
locate, preview and select media files to be added to your project. You can also use the Explorer window to
perform common file management tasks, such as renaming files or creating folders. Display the Explorer by
choosing

Chopper

Explorer from the View menu or pressing .

Alt +1

The Chopper™ isolates audio events so that you can dissect them and reinsert them into a project to
produce elaborate slice-n-dice effects with minimal effort. Display the Chopper by choosing

+2

the

View menu or pressing . For more information, see Using the Chopper on page 109.

Mixer

Alt

Chopper from

The Mixer window provides access to output levels, as well as soft synth controls and the project audio

+3

properties. Display the Mixer by choosing

Mixer from the View menu or pressing . For more

Alt

information, see Using the Mixer window on page 53.

CHP. 1 INTRODUCING ACID SOFTWARE

22

Video Preview/Video

This window displays prerendered video files that can be imported and synchronized with an ACID project.
The video file displays during project playback and can be rendered with the project to an appropriate
format. In ACID Pro software, display the Video Preview window by choosing
menu or pressing . In ACID Music software, display the Video window by choosing

View menu or pressing . For more information, see Using the Video window on page 201.

Media Manager

Alt +4

Alt

+4

Video Preview from the View

Video from the

This window displays the Media Manager™, which you can use to search for, manage, and tag your media
files. Display the Media Manager window by choosing

Alt +5

ACID FX

. For more information, see Using the Media Manager on page 79.

Media Manager from the View menu or pressing

This window displays the ACID FX chain for the selected track. Display the ACID FX window by clicking a
track’s

Tr a c k FX button ( ), by choosing ACID FX from the View menu, or by pressing .

Track Properties

Alt +5

This window allows you to change track attributes and edit MIDI tracks using OPT plug-ins. Display the

+6

Track Properties window by double-clicking a track’s icon or by pressing . For more information, see

Alt

Configuring track properties on page 130 and Working with MIDI on page 169.

Surround Panner

This window allows you to control panning in a 5.1 surround project. Display the Surround Panner window
by double-clicking the surround panner on a track or mixer control or by pressing . For more

Alt +7

information, see Working with 5.1 Surround on page 203.

Soft Synth Properties

This window allows you to change the attributes of soft synth controls in the Mixer window. Display the Soft

Alt

Synth Properties window by double-clicking a soft synth control’s icon or by pressing . For more

+8

information, see Using soft synth controls on page 149.

Audio Plug-In

This window displays plug-ins and settings for track, assignable, bus, and soft synth effects chains. Display
the Audio Plug-In window by clicking a track’s

View menu, or by pressing . For more information, see Using track effects on page 117 and Adding effects

Alt +9

Tr a c k FX button ( ), by choosing Audio Plug-In from the

to soft synth mixer controls on page 156.

Plug-In Manager

This window allows you to view and choose effects plug-ins to be added to a track, bus, or assignable effects
chain. Display the Plug-In Manager window by choosing

Ctrl + Alt + 1

Groove Pool

.

Plug-In Manager from the View menu or by pressing

This window allows you to view and edit the grooves in your project. Display the Groove Pool by choosing

Groove Pool from the View menu or by pressing . The upper half of the Groove Pool window

Ctrl + Alt + 2

shows all of the groove maps currently in your project. The lower half of the window displays the selected
groove map in the Groove Editor, which allows you to make changes. For more information, see Working with

grooves on page 135.

INTRODUCING ACID SOFTWARE CHP. 1

Keyboard command reference

The ACID keyboard commands are shortcuts that you can use while working on your project.

General commands

Description Keys

Display online help F1
Display What’sThis? help Shift+F1 and click an item
Refresh screen F5
Shortcut menu Shift+F10
Temporarily suspend snapping Shift+drag

Project file commands

Description Keys Description Keys

Create new project Ctrl+N Save project Ctrl+S
Create new project and bypass the
Project Properties dialog
Open existing project or media file Ctrl+O Close the current project Ctrl+F4

Ctrl+Shift+N Open project properties Alt+Enter

23

CHP. 1 INTRODUCING ACID SOFTWARE

24

Magnification and view commands

Description Keys Description Keys

Show Explorer window Alt+1 Shift focus backward

Show Chopper window Alt+2 Restore project magnification to the

Show Mixer window Alt+3 Restore track height to a level

Show Video/Video Preview window Alt+4 Reduce timeline magnification so the

Show Media Manager window
(available in ACID Pro software
only)

Show ACID FX window (available in
ACID Music Studio software only)

Show Track Properties window Alt+6 Zoom in time until each video

Show Surround Panner window
(available in ACID Pro software
only)
Show Soft Synth Properties window Alt+8 Change track height for all tracks Ctrl+Shift+Up or Down Arrow

Show Audio Plug-In window
(available in ACID Pro software
only)
Show Plug-In Manager window
(available in ACID Pro software
only)

Show Groove Pool window
(available in ACID Pro software
only)

Shift focus forward through open
ACID windows

Shift focus backward through open
ACID windows
Shift focus forward (clockwise)
through track list, timeline, bus
track timeline, and bus track list
(when track view or timeline has
focus)

Alt+5 Zoom time in/out small increments

Alt+5 Zoom time in/out large increments

Alt+7 Zoom track height in/out (when

Alt+9 Minimize/restore track height for all

Ctrl+Alt+1 Return all tracks to the default

Ctrl+Alt+2 Minimize/restore the window

F6 Minimize/restore timeline vertically

Shift+F6 Minimize/restore the track list Shift+F11 or Shift+Alt+’

Tab Show/Hide bus tracks U

(counterclockwise) through track
list, bus track list, bus track
timeline, and timeline (when track
view or timeline has focus)

default settings

where all track list controls are
displayed

entire length of the project and as
many tracks as possible are
displayed

(when timeline has focus)

(when timeline has focus)

thumbnail represents one frame

timeline has focus)

tracks

height

docking area

and horizontally (window docking
area and track list will be hidden

Shift+Tab

F9

Shift+F9

Ctrl+F9

Up or Down Arrow

Ctrl+Up or Down Arrow

Alt+Up Arrow

Shift+Up or Down Arrow

‘

Ctrl+’

F11 or Alt+’

Ctrl+F11 or Ctrl+Alt+’

Explorer window commands

Description Keys Description Keys

Add all selected files to the track list Enter Add selected file or currently playing

file to the track list

INTRODUCING ACID SOFTWARE CHP. 1

Ctrl+Enter

Cursor placement, loop region and time selection commands

Description Keys Description Keys

Go to beginning of active loop
region or viewable area (if no
selection)

Go to end of active loop region or
viewable area (if no selection)

Toggle cursor between beginning
and end of loop region
Time select loop region (when Time
Selection tool is selected)
Toggle previous selection Backspace Move left/right to event edit points

Go to beginning of project W or Ctrl+Home Move through a video event one

Go to end of project Ctrl+End Create or extend loop region/time

Move left by grid marks Page Up Double loop region/selection length ‘ (apostrophe)
Move right by grid marks Page Down Halve loop region/selection length ; (semicolon)
Go to
(using measures, beats, and ticks)
Go to
(using absolute time)
Set end of time selection
(using measures, beats, and ticks
when Time Selection tool is selected)

Home Center in view \

End Move cursor to corresponding

marker or select corresponding
region

Numeric keypad 5 Move left/right one pixel Left/Right Arrow

Shift+Q Move to marker(s) Ctrl+Left/Right Arrow

including fade edges

frame at a time

selection

Ctrl+G Shift loop region/selection left , (comma)

Shift+G Shift loop region/selection right . (period)

Ctrl+Shift+G

Number keys (not Keypad)

Ctrl+Alt+Left/Right Arrow

Alt+Left or Right Arrow

Shift+Left or Right Arrow

25

Event editing commands

Description Keys Description Keys

Paint the entire media length for all
media except video (only when Paint
tool is selected)
Select Draw tool Ctrl+D Create fades F

Select next edit tool in list D Reverse event U
Select previous edit tool in list Shift+D Trim events to selection length. This

Undo Ctrl+Z Slip Trim: moves the media with the

Redo Ctrl+Shift+Z Slip: move media within event

Cut selection Ctrl+X Slide: move event while leaving the

Copy selection Ctrl+C Pitch down one semitone Numeric keypad -

Copy event Ctrl+drag Pitch up one semitone Numeric keypad +

Paste from clipboard Ctrl+V Pitch down 4 semitones Shift+Numeric keypad -

Paste repeat from clipboard Ctrl+B Pitch up 4 semitones Shift+Numeric keypad +

Paste insert Ctrl+Shift+V Pitch down one octave Ctrl+Numeric keypad ­Insert event at cursor Y Pitch up one octave Ctrl+Numeric keypad +
Paste event at cursor Shift+Y Reset pitch Ctrl+Shift+Numeric keypad - or

Ctrl+click in timeline Join selected events J

Ctrl+T
command has no effect if there is no
selected data. Trimming does not
copy data onto the clipboard.
Available only when the Time
Selection tool is active

Alt+drag edge of event
edge as it is trimmed

Alt+drag inside the event
without moving the event

Ctrl+Alt+drag event
underlying media in place

-

=

Shift+-

Shift+=

+

Ctrl+Shift+-/=

CHP. 1 INTRODUCING ACID SOFTWARE

26

Description Keys Description Keys

Delete selection Delete Change an event’s gain setting Keypad / or *
Move selected event(s) right one

pixel
Move selected event(s) left one pixel Numeric keypad 4 Change an event’s gain setting by

Temporarily suspend Snap To Shift while dragging an event Set an event’s gain to 0.0 dB Shift+Ctrl+Keypad *
Erase entire event Ctrl+click event with Erase tool Set an event’s gain to silence Shift+Ctrl+Keypad /
Split event(s) S Render to new track

Numeric keypad 6 Change an event’s gain setting by

10%

25%

Chop to new track if the Chopper
window has focus

Shift+Keypad / or *

Ctrl+Keypad / or *

Ctrl+M

Playback commands

Description Keys Description Keys

Start/stop playback Spacebar Record Ctrl+R
Stop playback Esc Go to start of project Ctrl+Home or W
Toggle looped playback Q Go to end of project Ctrl+End
Play from start Shift+Spacebar or

Ctrl+Shift+Spacebar when the
timeline or track view has focus

Shift+F12 from any window

Play from cursor Ctrl+Spacebar when the timeline

or track view has focus

F12 (from any window)

Pause/resume playback Enter when the timeline or track

view has focus

Ctrl+F12 from any window

Skip backward Page Up

Skip forward Page Down

INTRODUCING ACID SOFTWARE CHP. 1

Timeline commands

Description Keys Description Keys

Record Ctrl+R Insert/remove track volume

Go to (using measures.beats.ticks) Ctrl+G Adjust envelope point value in fine

Go to (using current time ruler
format)

Set end of time selection (using
measures, beats, and ticks when
Time Selection tool is selected)
Toggle snapping F8 Insert region R
Temporarily suspend snapping Shift+drag Insert marker (standard) M
Toggle snap to grid Ctrl+F8 Insert time marker H
Ripple edit mode Ctrl+L Insert disc-at-once CD track marker N
Draw tool Ctrl+D Change tempo Alt+drag time marker
Select next edit tool in list D Insert command marker C
Select previous edit tool in list Shift+D Insert tempo change T
Mark in point I or [ Insert key change K
Mark out point for selection O or ] Insert time signature change Shift+K
Render to new track Ctrl+M Insert tempo and key change Shift+T
Insert/show/hide track pan envelope P Maximize timeline vertically

Insert/remove track pan envelope Shift+P Maximize timeline vertically and

Insert/show/hide track volume
envelope

Shift+G Adjust envelope point value in

Ctrl+Shift+G Adjust envelope point’s timeline

V Maximize timeline horizontally

envelope

increments without changing the
point’s timeline position

normal increments without changing
the point’s timeline position

position without changing its value

(window docking area will be
hidden)

horizontally (window docking area
and track list will be hidden)

(track list will be hidden)

Shift+V

Ctrl+drag envelope point or

segment

Ctrl+Alt+drag envelope point

or segment

Alt+drag

F11

Ctrl+F11

Shift+F11

27

Track list commands

Description Keys Description Keys

Mute selected tracks Z Render to new track Ctrl+M
Solo selected tracks X Show/hide bus tracks B
Record Ctrl+R Insert folder track Ctrl+Alt+F
Cycle through effect automation

envelopes

E or Shift+E Insert new MIDI track Ctrl+Alt+Q

Mixer commands

Description Keys Description Keys

Change selection of a mixer control Left/Right Arrow Select multiple nonadjacent mixer

Move the right channel of the fader
for the selected mixer control

Move the left channel of the fader
for the selected mixer control

Select multiple, adjacent mixer
controls

Ctrl+Up/Down Arrow Delete the selected bus or assignable

Shift+Up/Down Arrow Move the fader of the selected mixer

Shift+Left/Right Arrow

controls

FX control

control (for assignable effect
controls, moves the Out fader)

Ctrl+Left/Right Arrow

Delete

Up/Down Arrow

MIDI commands

Description Keys Description Keys

Insert new MIDI track Ctrl+Alt+Q Trigger from MIDI Timecode Ctrl+F7
Generate MIDI Timecode F7 Reset all MIDI ports Ctrl+Alt+F7
Generate MIDI Clock Shift+F7

CHP. 1 INTRODUCING ACID SOFTWARE

28

Chopper commands

For more information, see Using Chopper toolbar and keyboard commands on page 110.

Surround Panner commands

For more information, see Moving the pan point on page 209.

Mouse scroll-wheel shortcuts

Description Keys

Zoom in on timeline Rotate mouse wheel forward or

back
Vertical scroll Ctrl+wheel
Horizontal scroll Shift+wheel
Auto-scrolling Press mouse wheel and move

Move the cursor in grid increments Ctrl+Shift+wheel
Move the cursor in video frames Ctrl+Alt+Shift+wheel
Adjust slider/fader Wheel up or down while

Adjust slider/fader in fine
increments

the mouse in the desired

direction

hovering over slider/fader

handle

Ctrl+wheel up or down while

hovering over slider/fader

handle

INTRODUCING ACID SOFTWARE CHP. 1

Audio signal flow

29

CHP. 1 INTRODUCING ACID SOFTWARE

30

Notes on audio signal flow

• This diagram describes non-MIDI audio events. For MIDI events, see MIDI signal flow on page 31.

• In 5.1 surround projects, tracks routed to the Surround Master bus send surround panning (six-channel)

information. Tracks routed to busses (e.g., Bus A) send stereo panning (two-channel) information.

• Assignable effect chain panning is available only in 5.1 surround projects. In 5.1 surround projects,
assignable effect chains routed to the Surround Master bus send surround panning (six-channel)
information. Assignable effect chains routed to busses (e.g., Bus A) send stereo panning (two-channel)
information.

• Bus panning is available only in 5.1 surround projects. In 5.1 surround projects, busses routed to the
Surround Master bus send surround panning (six-channel) information. Busses routed to hardware send
stereo panning (two-channel) information.

INTRODUCING ACID SOFTWARE CHP. 1

MIDI signal flow

31

CHP. 1 INTRODUCING ACID SOFTWARE

32

Notes on MIDI signal flow

• Soft synth panning is available only in 5.1 surround projects. In 5.1 surround projects, soft synth controls
routed to the Surround Master bus send surround panning (six-channel) information. Soft synth controls
routed to busses (e.g., Bus A) send stereo panning (two-channel) information.

• Bus panning is available only in 5.1 surround projects. In 5.1 surround projects, busses routed to the
Surround Master bus send surround panning (six-channel) information. Busses routed to hardware send
stereo panning (two-channel) information.

INTRODUCING ACID SOFTWARE CHP. 1

CHAPTER

Getting Started

2

2

Now that you have an understanding of the interface and controls found in ACID® software, you are ready
to begin learning the techniques needed to pick, paint, and play in ACID projects. In this chapter you will
learn the skills that will allow you to create music, from locating media files to writing the finished project to
CD.

Starting projects

Double-clicking the ACID Pro or ACID Music Studio™ icon on the desktop starts the software. You can
immediately begin building your ACID project using the application’s default project properties. However,
you may prefer to customize the project properties prior to beginning the project.

33

Setting project properties

ACID software allows you to configure project properties and add summary information prior to beginning a
project. Choosing

Summary and Audio. Selecting the Start all new projects with these settings check box configures the software to

use the parameters and information in both tabs as defaults when starting all subsequent projects.

Note:

information at any time. Choose
menu to display the Project Properties dialog, which contains
the identical tabs and parameters as the New Project dialog.

Using the Summary tab

This tab allows you to enter information about the project. These boxes may be left blank or if information
exists, you may change it at any time.

Item Description

Title Enter the name or title of the project.
Artist Enter the name of the narrator, band, or artist(s) being recorded into the project.
Engineer Enter the name(s) of the people who mixed and edited the project.
Copyright Enter the date and ownership rights of the project.
Comments Enter information that identifies and describes the project.
Universal Product Code/Media

Catalog Number
Start all new projects with these

settings

You can edit project audio properties and summary

New from the File menu displays the New Project dialog. This dialog contains two tabs:

Properties from the File

Enter the Universal Product Code (UPC) and the Media Catalog Number (MCN) to
be written to your CD for identification purposes.

Select this check box if your projects’ requirements do not change or you want
consistent settings for future projects.

CHP. 2 GETTING STARTED

34

Using the Audio tab

This tab allows you to set different characteristics the project uses to handle the audio.

Item Description

Master bus mode Choose either Stereo for a standard audio project or 5.1 Surround for a surround

project.

Available only in ACID Pro software.

Number of additional stereo busses Enter the number of stereo busses that you want in your project. You may add up to 26

Sample rate Choose a sample rate from the drop-down list or enter your own rate. The sample rate

Bit depth Choose a bit depth from the drop-down list. A higher bit depth results in better quality

Enable low-pass filter on LFE Select this check box to limit the audio sent to the LFE channel in a 5.1 surround project.

Cutoff frequency for low-pass filter Enter a low-pass cutoff frequency value for 5.1 surround projects. Audio sent to the LFE

Low-pass filter quality Choose a setting from the drop-down list to determine the sharpness of the low-pass

Start all new projects with these
settings

busses. The busses appear in the Mixer window. For more information, see Using busses
on page 145.

Available only in ACID Pro software.

range is 2,000 Hz to 192,000 Hz. Higher sample rates result in better quality sound,
but also mean larger audio files.

sound, but also means larger audio files.

For more information, see Working with 5.1 Surround on page 203.

Available only in ACID Pro software.

channel is limited to frequencies lower than the value you enter. Applying a low-pass
filter approximates the bass-management system in a 5.1 decoder and ensures that
you’re sending only low-frequency audio to the LFE channel.

Available only in ACID Pro software.

filter’s rolloff curve. Best produces the sharpest curve.

Available only in ACID Pro software.

Select this check box if your project requirements do not change or you want consistent
settings for future projects.

Opening existing projects

1.

From the File menu, choose Open. The Open dialog appears.

2.

Choose a drive and folder from the Look in drop-down list.

3.

Select a file in the browse window or type a name in the File name box. Detailed information about the
selected file appears at the bottom of the dialog box.

4.

Choose a file type from the Files of type drop-down list to limit the files displayed in the dialog box.

5.

Click Open.

Note:

If one of the media files cannot be located when you
open an ACID project, you can choose to leave the media
offline and continue to edit events on the track. The events
point to the location of the source media file. If you restore the
source media file at a later time, the project opens normally.

GETTING STARTED CHP. 2

Opening ACID projects with embedded media

When you open an .acd-zip project, the project file and all media files are copied to the temporary files
folder.

Note:

You can customize the location of the temporary files
folder. For more information, see Using the General tab on
page 223.

Any changes you make to the project are saved to the files in this temporary folder until you save the .acd-zip
file again. For more information, see Saving projects on page 56.

Getting media files

Now that you’ve created a new project or opened an existing project, the next step is to add media to the
project. You can use the Explorer window to locate, preview and add media to your project. You can also
extract audio from a CD or download media from the Web. If you have ACID Pro software, you can also use
the Media Manager to locate and add media files.

Previewing media from the Explorer window

The Explorer window allows you to preview files in looped playback at the current project tempo before
adding them to your project. You can also preview files in the Explorer in conjunction with playing your
project, thereby allowing you to preview how a file will sound in the project.

35

To preview files, use the

Start Preview ( ), Stop Preview ( ), and Auto Preview ( ) buttons at the top of

the Explorer window.

Previewing a media file

Select the media file in the Explorer window that you want to preview.

1.

2.

Click the Start Preview button ( ). The media file begins looped playback. You can monitor its levels on
the preview bus.

3.

Click the Stop Preview button ( ) to end playback.

Previewing multiple media files

You can use the Explorer’s multiple-selection preview feature to preview a group of files in the order that you
select them.

1.

From the Options menu, choose Preferences.

In ACID Pro software, click the Other tab of the Preferences dialog and select the Enable multiple-selection

preview in Explorer window

In ACID Music Studio software, click the

selection preview in Explorer window

If you want, you can enter values in the

play

box, and Number of Beatmapped measures to play box to specify how different file types are previewed.

2.

Click OK to close the Preferences dialog.

check box.

Audio tab of the Preferences dialog and select the Enable multiple-

check box.

Number of times to repeat each Loop box, Seconds of each One-Shot to

3.

In the Explorer, select the media you want to preview. Hold while clicking to select multiple,
adjacent files or hold while clicking to select multiple, nonadjacent files.

4.

Click the Start Preview button ( ). The first selected file in the list is previewed, followed by each file in
the list. A file’s icon changes to a

CHP. 2 GETTING STARTED

Ctrl

Play icon ( ) to indicate which file is currently previewing.

Shift

36

Note:

press +. Press to add all selected files to your

To add the currently previewing file to your project,

Ctrl Enter Enter

project.

Using Auto Preview

Click the Auto Preview button ( ) to toggle automatic playback of media files when you select them in the
Explorer. If your project is currently playing when you select a new file, the new file plays back along with
your project. This feature allows you to listen to the media file in the context of your project.

Adding media to the project

You must add media files to a project before you can paint, arrange, and process them. When you add a file to
a project, a new track is created to accommodate it. New tracks are added at the current volume of the
Preview fader in the Mixer window, unless you have set a default track volume level. For more information,

see Setting default track properties on page 222.

There are several methods of adding media files to a project.

Note:

compression scheme may cause working with them to be
inefficient and slow. For more information, see Proxy File on
page 248.

Proxy files may be created for media whose

Note:

Before using long Beatmapped or long one-shot files
from CDs or shared network folders, copy the media to your
local drive for the best possible performance.

ACID temporary files

When you add a media file to a project from a removable device, a copy of the media file is stored in the
temporary files folder. This keeps the media file available for use even if the source of the media is no longer
accessible.

Be aware that the temporary files folder is cleared when you close the ACID application. However, files are
not cleared from the folder if the software closes inappropriately.

Note:

You can customize the location of the temporary files
folder. For more information, see Using the General tab on
page 223.

GETTING STARTED CHP. 2

37

Adding media files from the Explorer window

You can use the Explorer window, which operates similarly to the Windows® Explorer, to locate media files
for use in projects. Display the Explorer, if needed, by choosing

Alt + 1

.

Explorer from the View menu, or by pressing

There are three ways to add media files from the Explorer window:

• Double-click the desired file.

• Drag the file from the Explorer to the track view or track list. Dragging a file from the Explorer to the

track name of an existing track allows you to replace the original file with the new file, while all events
remain in place.

• Right-click and drag a file to the track view or track list to specify the type of track to be created. When
you drop the file, a shortcut menu appears that allows you to choose whether to treat the file as a loop,
one-shot, Beatmapped track, or as an autodetected type.

Adding media files from the Media Manager window

If you have ACID Pro software, you can use the powerful Media Manager feature to locate, catalog, and add
media files to your ACID projects. Within the Media Manager window, you can build media libraries of your
media that include file attributes, ACID metadata, and tags that you can assign to classify your media. You
can also search for, purchase, and access reference libraries from outside sources to build your media file base.
Display the Media Manager, if needed, by choosing Media Manager from the View menu, or by pressing

Alt + 5

.

For more information on the Media Manager feature, see Using the Media Manager on page 79.

Adding media files from the Open dialog

There are three ways to add media files from the Open dialog:

• Select the desired file and click

• Right-click the selected file and choose

Open.

Select from the shortcut menu.

• Double-click the selected file.

Adding media files from outside the application

You can also add a media file to a project by dragging it from Windows® Explorer to the track view.

Adding multiple media files simultaneously

To add multiple media files to the project, +click (or +click) to select the files and drag them to the

Ctrl

Shift

track view or the track list.

CHP. 2 GETTING STARTED

38

Extracting media files from CD

You can extract 44,100 Hz, 16-bit, stereo data from CDs. Extracted CD tracks are added to new tracks in
your ACID project.

1.

Insert a CD in the CD-ROM drive.

2.

From the File menu, choose Extract Audio from CD. The Extract Audio from CD dialog appears.

3.

If you have more than one CD drive, choose the CD drive that contains the audio you want to extract
from the

4.

From the Action drop-down list, choose how you

Drive drop-down list.

want to extract audio:

• Choose

Read by track and select each track you

want to extract. Each track is extracted to a new
track in your project.

• Choose

Read entire disc to extract the current CD

to a single file.

• Choose

Read by range and enter a starting time

and ending time (or a starting time and length).
The time range is extracted to a new track in your
project.

Click

Play to preview your selection. In order to

preview, your CD drive’s audio output must be
connected to your sound card, or you can connect
headphones to the front of the CD drive.

5.

From the Speed drop-down list, choose the speed at which you want to extract audio.

6.

Click OK. The Save As dialog appears.

7.

Enter a file name and choose a location for the new file(s).

Tip:

Extracted tracks can be automatically named for you.

From the

General tab, select the Autoname extracted CD tracks check

Options menu, choose Preferences, and on the

box. For more information, see Using the General tab on
page 223.

8.

Click Save to start extracting audio.

CD data extraction begins and a progress meter is displayed. If the file is longer than 30 seconds, the
Beatmapper™ Wizard appears.

9.

Use the Beatmapper Wizard or choose to open the file as a one-shot. The extracted file is added to a track.

For more information, see Using the Beatmapper on page 128.

You can also double-click a CDA file in the Explorer window (or drag it to the track view) to extract a CD
track without opening the Extract Audio from CD dialog.

Note:

need to press to refresh the Explorer window to view the

When adding media from multiple CDs, you may

F5

new CD’s contents.

GETTING STARTED CHP. 2

Downloading media files from the Web

The Get Media from the Web command allows you to view and download various audio and video files
available on the Internet.

1.

From the File menu, choose Get Media from the Web.

2.

Choose an icon from the left frame to specify the media provider from which you want to download files.

3.

Preview the file, select the file you want to open and click Download. The Browse for Folder dialog
appears.

4.

Select a folder for the download. The selected file is downloaded to the folder specified in the Destination
box.

5.

When you are finished downloading, close the Get Media from the Web dialog. The file is added to your
project.

Click

Show Details to display additional information about your download. In this mode, you can add files to

a download queue, specify where the downloaded files should be stored, and monitor the progress of your
downloads. Click

Start to begin downloading queued files, or click Hide Details to return to basic mode.

Understanding track types

When you add media to a project, a new track is created for the file. Depending on the type of media you
add, one of four track types is created to accommodate it: loop, one-shot, Beatmapped, or MIDI. You can
identify a track’s type by looking at the track number/type icon in the track header. If you have ACID Pro
software, you can also use folder tracks to group tracks together.

39

Loops

Loops are small chunks of audio that are designed to create a continuous beat or pattern when played
repeatedly. They are usually one to four measures long. Loops are the type of file that you will use most
frequently.

One-shots

One-shots are chunks of audio that are not designed to loop, and they are streamed from the hard disk rather
than stored in RAM if they are longer than three seconds. Things such as cymbal crashes and sound bites
could be considered one-shots.

Unlike loops, one-shots do not change pitch or tempo with the rest of a project.

Beatmapped

When you add a file that is longer than thirty seconds to a project, the Beatmapper Wizard starts, allowing
you to add tempo information to the file. As a result, these tracks respond to tempo and key changes just like
loops. For more information, see Using the Beatmapper on page 128.

Tip:

You can change the length of the file that starts the
Beatmapper in the
more information, see Using the Audio tab on page 225.

Audio tab of the Preferences dialog. For

MIDI

A MIDI track is automatically created when you open a MID, SMF, or RMI file. You can use MIDI tracks to
record data from and play back through synthesizers and other MIDI-compliant equipment. For more

information, see Working with MIDI on page 169.

CHP. 2 GETTING STARTED

40

Folder tracks

Folder tracks can contain any combination of loop, one-shot, Beatmapped, and MIDI tracks. Use folder
tracks to group related tracks or sections of a project so they can be easily expanded or minimized. For
example, if you have many drum tracks in your project, you can add a folder track to consolidate drum tracks
and minimize their vertical space in the track list.

When the folder track is minimized, you can also perform edit operations on clustered events in the group,
but you cannot create events with the Draw or Paint tools or perform edge-trimming. Expand the folder
track to edit individual events.

For more information, see Using folder tracks on page 141.

Adding and editing events

You have added media to the project, and tracks have been created for the media files. Now you can add
events to the track view. The following sections describe three basic techniques used when working with
audio events: painting, deleting, and moving.

Painting events

After you add a media file to your project, you must paint it on the timeline in order to hear it. When you
paint on the media file’s track, you create an event that displays the file’s waveform. You can paint events on
the timeline using either the Draw tool or the Paint tool.

Note:

Media files must be added to the project before either

of these tools can be used to paint events.

Placing events with the Draw tool

The Draw tool is the most common method of placing events on the timeline. This tool allows you to add
track-specific events, one at a time. In addition, you can use the Draw tool to select, edit, and move events.

For more information, see Adding and editing events on page 40.

1.

Click the Draw Tool button ( ) or choose Editing Tool from the Edit menu and choose Draw from the
submenu. The pointer displays as a pencil icon.

2.

Place the Draw tool at the left edge of any track containing a media file.

3.

Click and hold the mouse button while dragging the Draw tool to the right. A waveform representing the
event appears on the timeline as you drag the mouse.

Notice that if you are placing a loop file on the timeline, small indentations appear along the top and
bottom edges of the event indicating the start and end points of each individual loop.

Tip:

Events can be also be drawn from right (end) to left

(beginning).

4.

Release the mouse button to end the event.

5.

Click the Play from Start button ( ) on the transport bar. The event plays back.

GETTING STARTED CHP. 2

41

Painting events with the Paint tool

Unlike the Draw tool, the Paint tool allows you to quickly paint multiple events across several tracks. This
can be useful when you need to quickly add several seemingly random events to a project. The Paint tool is
also best used for painting multiple one-shot events that will be evenly spaced on the grid lines.

1.

Click the Paint Tool button ( ) or choose Editing Tool from the Edit menu and choose Paint from the
submenu. The mouse pointer displays as a brush icon.

2.

Click and hold the mouse button while dragging the Paint tool randomly across the several tracks. Notice
that events are painted in every grid space the Paint tool contacts.

3.

Release the mouse button to stop adding events.

4.

Click the Play from Start button ( ) on the transport bar. All new events play back.

Tip:

With the Paint tool selected, you can use +click to

Ctrl

paint an entire event for one-shot, Beatmapped, and MIDI
tracks.

CHP. 2 GETTING STARTED

42

Inserting events at the play cursor

You can also insert events at the cursor during playback. You can use this feature to create rhythms on one­shot tracks while listening to the track you’re editing in the context of the rest of your project. When you’re
done creating events, you can use the

Render to New Track command (on the Edit menu) to save the rhythm

to a new track, or you can copy and paste your new events across the timeline.

1.

Create a time selection in the portion of the project you want to edit.

2.

Select the Loop Playback button ( ).

3.

Click the Play button ( ) to start playback.

4.

Click a track header in the track list to set the focus track.

5.

Y

Press to add an event at the play cursor (during playback, the edit cursor remains fixed, and the play
cursor follows playback).

If snapping is enabled, events are created at the next snap point. You can use snapping to quantize your
events.

6.

Repeat step 5 as needed.

7.

You can press the and keys to change the focus track.

8.

Click the Stop button ( ) when you’re finished creating events.

9.

Edit event positions as necessary.

Tip:

If you're using this feature to tap rhythms with one-shot
tracks, try applying a groove to adjust the timing of your
rhythm.For more information, see Working with grooves on
page 135.

Changing the length of events

After an event is painted on the track view, you may discover that it is too long or not long enough;
however, it is easy to change the length of an event. You may find it helpful to turn snapping options on by
choosing

To alter an event’s length, click the
the event past the end of the file, looped files repeat, but one-shot and Beatmapped tracks draw silence.

Snapping from the Options menu and choosing Enable from the submenu.

Draw Tool button ( ) and drag either end of the event. When you drag

Original event

GETTING STARTED CHP. 2

Drag the end
of the event...

...to increase its length.

Erasing sections of events

Occasionally you may need to delete only specific sections of an event and leave the rest of it intact. The
easiest method of deleting a section of an event is to use the Erase tool.

1.

Click the Erase Tool button ( ) or choose Editing Tool from the Edit menu and choose Erase from the
submenu. The pointer displays as an eraser icon.

2.

Drag in the track view to delete event data.

Tip:

With the Erase tool, you can delete an entire one-shot,

Beatmapped, or MIDI event. Just hold while you click

Ctrl

the event.

Moving events

The position of the left edge of an event indicates when the event becomes audible during playback. You can
move events along the timeline either individually or as a group.

In addition, you can stack events on top of one another. A longer event placed over a smaller event conceals
the smaller event and makes it inaudible. A smaller event placed over a larger event is audible and renders
the section of the longer event it covers inaudible.

1.

Click the Draw Tool button ( ).

43

2.

Click the event to be moved. The event is highlighted to indicate that it is selected.

Tip:

You can hold or to select multiple events.

3.

Drag the event to a new location on the track.

Note:

Multiple selected events move in relation to the event

Ctrl Shift

being dragged.

Using the cursor

The ACID cursor is a flashing vertical line that spans the track view of the entire project. The cursor
position determines where events split, where playback/recording starts, and where clipboard contents are
pasted. In addition, the positioning of the cursor is essential to the creation of time selections.

Positioning the cursor with the mouse

1.

Click the Draw Tool button ( ).

2.

Click in the track view to position the cursor.

Positioning the cursor with the keyboard

While using the mouse to position the cursor in the timeline is quick and intuitive, it is not always precise.
For example, you may want the beginning of a guitar solo to coincide with a snare drum hit, or background
vocals to enter exactly 3 minutes and 24 seconds into a song. For these reasons, you can also position the
cursor using your keyboard. For more information, see Cursor placement, loop region and time selection commands

on page 25.

CHP. 2 GETTING STARTED

44

Positioning the cursor with the Go To command

The Go To command is used to place the cursor at a specific location in the ACID project.

• Press to position the cursor based on the position displayed on the beat ruler. Specify a position

• Press to position the cursor based on the time displayed on the time ruler. Specify a time in the

Ctrl +G

(in measures.beats.ticks format) in the box that appears in the time display and press .

Shift +G

box that appears in the time display and press .

Tip:

You can also open the boxes in the time display by

Enter

Enter

double-clicking the desired value.

Making selections

You must select events before you can move or edit them.

Selecting an event

1.

Click the Draw Tool button ( ).

2.

Click an event. The event is highlighted.

Selected event

Selecting multiple events

You have several methods of selecting multiple events:

• Press or while clicking events.

Ctrl

• Use the

• Use the

• Use the

• Use the Selection tool.

Note:

Unless stated otherwise, selections can only be made

using the Draw tool.

Shift

Select All on Track command.
Select Events to End command.
Select All command.

GETTING STARTED CHP. 2

Selecting multiple events using the keyboard and mouse

45

Holding while clicking events allows you to select multiple, nonadjacent events that reside on any

Ctrl

track. This method is useful when you need to move several scattered events by an equal amount within the
project.

Holding allows you to select multiple, adjacent events. Selecting any two events while holding

Shift Shift

automatically selects all events located between the selected events. Events may be selected from the same
track or across tracks. This method is useful when you want to move several adjacent events by an equal
amount within the project.

Selecting multiple events using the Select All on Track command

Right-clicking any track in the track view and choosing Select All on Track from the shortcut menu selects
every event on the track.

Selecting multiple events using the Select Events to End command

Right-clicking an event in the track view and choosing Select Events to End from the shortcut menu selects
every event on the track after the selected event.

You use this command across multiple tracks by holding to click events on several tracks and then
right-clicking and choosing

Selecting events using the Select All command

Select Events to End from the shortcut menu.

Ctrl

Choosing Select All from the Edit menu selects all events in a project.

Selecting multiple events using the Selection tool

You can drag the Selection tool across the track view to select events across multiple tracks. This tool allows
you to select events using three methods: vertical, horizontal, and free selection.

Method Description Displays as...

Vertical Allows you to select all events on all

tracks within an interval of time.

Horizontal Allows you to select all events on a track

or several adjacent tracks.

Free selection Allows you to select a group of adjacent

events on adjacent tracks. This is the
default selection method.

1.

Click the Selection Tool button ( ) or choose Editing Tool from the Edit menu and choose Selection from

Parallel dashed line spanning the vertical
length of the project.
Parallel dashed line spanning the
horizontal length of the project.
Dashed line box.

the submenu.

2.

Place the pointer on the track view. The pointer displays as an arrow with an adjacent dotted box ( ).

3.

Drag the mouse on the track view. A dashed rectangular box appears on the track view and all events
within and adjacent to it are selected.

4.

While holding the left mouse button, click and release the right mouse button (referred to as toggle­clicking). The selection method changes to vertical and again, all events within and adjacent to the
selection area are selected.

5.

Toggle-click the mouse once more. The selection method changes to horizontal and all events within and
adjacent to the selection area are selected.

CHP. 2 GETTING STARTED

46

Creating time selections

You are not limited to selecting events. Frequently, you may want to select only audio events occurring
within a time selection. You can do this using the Time Selection tool.

1.

Click the Time Selection Tool button ( ) or choose Editing Tool from the Edit menu and choose Time

Selection

2.

Drag the mouse in the track view. The selection area is highlighted on the track view.

3.

Release the mouse button. A time selection is created and all events within it are selected.

from the submenu. The pointer displays with an adjacent cursor ( ).

Note:

If the selection area is automatically snapping to the
track view’s grid lines, the ACID snapping feature is turned
on. You can turn snapping off by pressing .

F8

Creating event selections within time selections

You can select specific events within a general time selection. This technique is useful for selecting
individual instruments from a particular section of a song. For example, you may want to copy all percussion
events from a song’s bridge and re-use them in the coda.

1.

Click the Time Selection Tool button ( ) or choose Editing Tool from the Edit menu and choose Time

Selection

2.

Drag the mouse in the track view. The selection area is highlighted on the track view.

3.

Release the mouse button. A selection is created and all events within it are selected.

4.

Hold and click any event that extends beyond the time selection. The entire event appears
highlighted; however, only the section of the event contained within the time selection is actually
selected.

Tip:

by continuing to hold while clicking events. In addition,
holding allows you to select the events of multiple
adjacent tracks within a selection.

from the submenu. The pointer displays with an adjacent cursor ( ).

Ctrl

You can select additional events within the time selection

Ctrl

Shift

GETTING STARTED CHP. 2

Working with tracks

A new track is automatically created for each media file added to a project, and all events placed on the
track derive from that file. Because of this, you can use track-level functions to affect every event on the
track. The following sections explain several basic track functions and features.

Reordering tracks

When building an ACID project, you may want to reorder the tracks to place similar instruments in
proximity to one another. For example, placing all drum loops together in the track view makes it easier for
you to fine-tune the mix of the song’s overall drum sound.

1.

Drag the track header to a new location in the track list. A heavy black horizontal line appears on the
track list to indicate where the track will be placed.

2.

Release the mouse button. The track is dropped in the new location and the entire track list/track view
adjusts accordingly.

47

Tip:

You can reorder multiple tracks by holding or

Ctrl Shift

while selecting tracks and dragging the tracks as a group.

Resizing tracks

You can change the height of a track, thereby affecting how many tracks display in the track view. This is
especially useful when building a project with a large number of tracks. In addition, you can decrease the
track’s height until only the multipurpose slider,

1.

Drag the bottom edge of a track up or down in the track list. The pointer displays as a vertical stretch

Tr a c k FX button, Mute button, and Solo button are visible.

icon ( ).

2.

Release the mouse button to establish the track’s new height.

Tip:

You can set the default height for all new tracks by right-

clicking the newly resized track in the track list and choosing

Set Default Track Properties from the shortcut menu. For

more information, see Setting default track properties on page

222.

Changing track colors

As mentioned previously, tracks are automatically created to accommodate new media files. These tracks are
assigned a default color. However, you can change track colors to organize the tracks in your project. To
change the color, right-click the track in the track list, choose
desired color from the submenu.

Color from the shortcut menu, and choose the

Renaming tracks

To rename a track, right-click the track name and choose Rename from the shortcut menu, or double-click
the track name. Renaming a track applies to the project only and does not change the file associated with
the track.

CHP. 2 GETTING STARTED

48

Duplicating tracks

To duplicate a track, right-click it and choose Duplicate Track from the shortcut menu. An exact copy of the
track is created and its events and adds it below the original track in the project. The words “Copy of” appear
before the name of the duplicate track to identify it in the track list.

For creative ways to use duplicate tracks, see Playing with duplicate tracks on page 233.

Deleting tracks

You can delete unnecessary tracks from a project by selecting the track and using any of the following
methods:

• Choose

• Right-click a track and choose

• Press .

Delete from the Edit menu.

Delete Track from the shortcut menu.

Delete

Copying, cutting, and pasting tracks

Copying a track places an exact copy of the selected track on the clipboard, but leaves the track view
unchanged. To copy a track, select the track and do one of the following:

• Click the

• Choose

• Right-click the track header and choose

• Press .

Cutting a track removes it from the track view and places it on the clipboard. To cut a track, select it and do
one of the following:

• Click the

• Choose

• Right-click the track header and choose

• Press .

Tracks that are copied or cut to the clipboard can be pasted back into the current project or into a different
project an unlimited number of times. This is a useful way to share tracks between different compositions.
You can paste a track in one of the following ways:

Copy button ( ) on the toolbar.

Copy from the Edit menu.

Copy Track from the shortcut menu.

Ctrl +C

Cut button ( ) on the toolbar.

Cut from the Edit menu.

Cut Track from the shortcut menu.

Ctrl +X

• Click the

• Choose

• Right-click the track view and choose

• Press .

Paste button ( ) on the toolbar.

Paste from the Edit menu.

Paste Track from the shortcut menu.

Ctrl +V

Adjusting the mix

Use the multipurpose slider to adjust the mix of a specific track.

GETTING STARTED CHP. 2

Click the slider label to choose what you want to adjust.

Function Description

Volume Controls how loud a track is in the mix. A value of 0 dB means that the track plays with no boost or cut from

the software. Dragging the fader to the left cuts the volume; dragging to the right boosts the volume.

Pan Controls the position of a track in the stereo field. Dragging the slider to the left places the track in the left

speaker more than the right, while dragging the slider to the right places the track in the right speaker.

Because true stereo panning is used, you can introduce clipping when panning a track to the left or right. Unlike
a left/right balance control—which simply decreases the volume of one channel—the default panning mode
actually adds the audio from one channel to the other. When panning a track, adjust the track volume
accordingly.

You can choose among five panning types to determine how a track is panned. For more information, see

Choosing stereo pan types on page 128.

FX Controls the level of the track sent to each of the assignable effect chains that you have created. Dragging the

fader to the left cuts the volume; dragging to the right boosts the volume.

Bus Controls the level of the track sent to each of the additional busses that you have created for your project.

Dragging the fader to the left cuts the volume; dragging the fader to the right boosts the volume.

49

Once you have chosen what you want to adjust, drag the slider to adjust the level. You can hold or

Ctrl Shift

to select multiple tracks and move the sliders together as a group.

Note:

When adjusting the mix of your tracks, remember to
look at the meters on the mixer. Because you are adding the
volumes of all the tracks together, it is easy to clip the audio
output. Make sure that the meters never display the red clip
indicator during playback.

Muting tracks

Each track has a Mute button (). Clicking this button shades the corresponding track (to indicate that it is
muted) and renders it inaudible during playback. Clicking the
its original level in the mix. Toggle-muting a track is an effective way of determining whether a track
contributes to the overall sound of a project.

You can also press to mute a track or group of tracks.

Tip:

Press and click the Mute button to mute only the

Z

Ctrl

selected track (and restore any other muted tracks). If the
selected track is already muted, press and click the

Ctrl

Mute

button to restore all tracks.

Mute button a second time returns the track to

CHP. 2 GETTING STARTED

50

Soloing tracks

Located next to the Mute button, the Solo button ( ) allows you isolate tracks in a project during playback.
When you click this button during playback, the corresponding track remains audible and all other tracks are
muted. Clicking the
soloing a track is an effective method of configuring and previewing isolated track effects against how they
sound in the project.

Solo button a second time returns all tracks to their original levels in the mix. Toggle-

You can also press to solo a track or group of tracks.

Tip:

Press and click the Solo button to solo only the

X

Ctrl

selected track (and restore any other soloed tracks). If the
selected track is already soloed, press and click the

Ctrl

Solo

button to restore all tracks.

Working with groups of tracks

Select a group of tracks by holding the key while you click the track header of the desired tracks. Now
you can adjust the volume, panning, track color, and other track attributes simultaneously.

Ctrl

Using undo and redo

You have unlimited undo and redo capabilities in ACID software. Each edit you perform in the project is
added to an undo history, which allows you to quickly restore the project to any of its previous states. In
addition, undoing an edit automatically places it in the project’s redo history where it can be quickly re-
performed. However, any new edit performed on the project overwrites the redo history.

Note:

The undo and redo histories are cleared when you

close the project or exit the application.

Using undo

To undo an edit, click the Undo button ( ) on the toolbar or press . Edits are undone in the reverse
order they were performed.

Tip:

You can also undo the most recent edit by choosing

Undo from the Edit menu.

Undoing a series of edits

Clicking the down arrow next to the Undo button ( ) displays the project’s undo history. The history
displays as a drop-down list with the most recent edit located at the top. Undoing an edit in the list requires
all subsequent edits to be undone as well.

1.

Click the arrow to the right of the Undo button ( ). The undo history appears.

2.

Locate the edit to be undone. Notice that all subsequent edits are automatically selected and the total
number of edits to be undone is indicated at the bottom of the drop-down list.

3.

Click the edit to be undone. The project is restored to the state it was in prior to the selected edit.

GETTING STARTED CHP. 2

Ctrl +Z

Undoing all edits

Choosing Undo All from the Edit menu undoes all project edits and automatically adds them to the redo
history.

Using redo

51

To redo an edit, click the Redo button ( ) on the toolbar or press . Edits are re-performed in

Ctrl +Shift+Z

the reverse order they were undone.

Tip:

You can also redo the most recent undone edit by

choosing Redo from the Edit menu.

Redoing a series of edits

Clicking the down arrow next to the Redo button ( ) displays the project’s redo history. The history
displays as a drop-down list with the most recently undone edit located at the top. Redoing an edit in the list
requires all subsequently undone edits to be re-performed as well.

1.

Click the arrow to the right of the Redo button ( ). The redo history appears.

2.

Locate the edit to be redone. Notice that all subsequently undone edits are automatically selected and the
total number of edits to be redone is indicated at the bottom of the drop-down list.

3.

Click the edit to be redone. The project is restored to the state it was in prior to the selected undone edit.

Tip:

Clicking the desktop outside the drop-down list cancels

the redo operation.

Clearing the undo history

You can clear the undo and redo histories without closing the project or exiting the application. After the
histories are cleared, new ones are created as you continue building the project.

1.

From the Edit menu, choose Clear Undo History. A confirmation dialog appears, alerting you that this
action permanently deletes the current edit histories.

2.

Click Ye s to clear the edit histories or No to retain the current edit histories.

Playing the project

You have several methods for playing your projects.

Using the transport bar

All buttons required to play your project are located on the transport bar. The transport bar should look
somewhat familiar to you, as it contains buttons found on most home CD and cassette players. For more

information, see Transport bar on page 20.

CHP. 2 GETTING STARTED

52

Using playback options

As you build a project, you will likely have different playback needs. For example, you may want to hear the
project in its entirety when checking the final mix, but not when you are working on the ending. Because of
this, you have three playback options:

• Playing the entire project.

• Playing from the cursor position.

• Playing in looped playback.

Playing the entire project

To begin playback from the beginning of the project, click the transport bar’s Play From Start button ( ) or

Shift +Space Space

press . To stop playback, click the transport bar’s

Playing from the cursor position

Stop button ( ) or press .

To begin playback from the current cursor position, click the transport bar’s Play button( ) or press .
To stop playback, click the transport bar’s

Playing in looped playback

Stop button ( ) or press .

Space

Space

You can also limit playback to a specific loop region on the track view. This playback method uses the
transport bar’s

Loop Playback button ( ) and allows you to fine-tune mixes and effects while continually

listening to the selected area. For more information, see Transport bar on page 20.

1.

Drag the handles of the loop bar to create the desired loop region.

Handle Loop bar

2.

Click the Loop Playback button ( ) to turn on looped playback.

3.

Click the transport bar’s Play button ( ) or press . Playback of the selected area begins. To stop
playback, click the transport bar’s

Bypassing audio effects during playback

Stop button ( ) or press .

Space

Space

If you want to hear your project without your applied audio effects (track, bus, and assignable effects), you
can quickly bypass these effects during playback. From the

Options menu, choose Bypass All Audio FX. This

option can also conserve processing power to avoid playback problems.

Note:

When effects are bypassed, you can choose whether

bypassed effects remain open. When the

running

check box on the General tab of the Preferences dialog

Keep bypassed FX

is selected, effects remain open so you can bypass/enable
effects with no pause for A/B testing. When the check box is
cleared, effects are fully bypassed, conserving processing
power.

GETTING STARTED CHP. 2

Using the Mixer window

The Mixer window is a dockable window with a default location in the lower-right corner of the ACID
workspace. The Mixer window contains the following controls:

A Preview fader, which allows you to adjust the loudness of media files previewed from the Explorer

•

window, Track Properties window, Beatmapper, or the Chopper. Also, the Preview fader’s volume
determines the volume of new tracks added to the project, unless you have set a default track volume
level. For more information, see Setting default track properties on page 222. This allows you to set up a quick
mix while you are adding media to your project.

• A Master bus fader, which controls the overall volume.

• Faders for up to 26 project busses when added to the project.

• Faders for up to 32 assignable effect chains when added to the project.

• Faders for up to 32 soft synth controls when added to the project.

The function of the bus, assignable effect, and soft synth controls are beyond the scope of this chapter. For
more information, see Using the Mixer on page 145.

Viewing the Mixer window

The Mixer window appears by default when you start the application, but you can hide it if necessary. To
view or hide the Mixer window, choose

Mixer from the View menu or press . A check mark appears

adjacent to the command to indicate when the window is displayed.

Alt +3

53

Using the mixer toolbar

The Mixer window toolbar allows you to access project properties, add busses, and add assignable effects
chains to the Mixer.

Button Description

Displays the Project Properties dialog.

Downmixes your audio from 5.1 surround to stereo or from stereo
to mono so you can ensure your mix will sound the way you intended
it, even when your audience’s hardware has fewer channels than the
original mix. The button represents the current playback mode:

5.1 surround output

Stereo output

Mono output

Available only in ACID Pro software.

Attenuates the volume of all busses that are routed to hardware outputs
by 20 dB. Click again to restore original volume.

Available only in ACID Pro software.

Adds an assignable effect chain to your project. The Plug-In Chooser
dialog appears so that you can create a plug-in chain. For more
information, see Using assignable effects on page 147.

Available only in ACID Pro software.

Adds another bus to your project. The Audio tab in the Project
Properties dialog updates to reflect the new number of busses. For more
information, see Using busses on page 145.

Available only in ACID Pro software.

Adds a soft synth control to your project. You can assign MIDI tracks or
external MIDI input devices to the soft synth control and assign the soft
synth control to a DLS set or VSTi® plug-in. For more information, see

Using soft synth controls on page 149.

CHP. 2 GETTING STARTED

54

Renaming mixer controls

Double-clicking a mixer control name allows you to rename the control. Press to save the change.

Enter a new
name for the
mixer control

Enter

Using the mixer’s faders

Adjusting the Preview fader

Drag the fader up or down to adjust the preview volume.

Hiding the Preview fader

Once you have added all desired media files to a project, you may want to hide the Preview fader to make
room for additional busses, assignable effects, and soft synth controls. To hide the Preview fader, right-click
within the Mixer window and choose
hidden until you choose

Show Preview Fader from the shortcut menu again.

Show Preview Fader from the shortcut menu. The fader remains

Adjusting split faders in the mixer

Split faders allow you to adjust the levels of the left and right channels independently. To move the faders
individually, drag the fader for the desired channel and release the mouse when it is in the correct position.

However, you can adjust both channels simultaneously by doing either of the following:

• Drag in the middle of the fader while making your adjustment.

• Click the

Unlock Fader Channels button( ) before adjusting the fader.

You can also change the fader level by double-clicking:

• Double-click the fader to reset it to 0.0 dB.

• If you have set each channel differently, double-click either channel to match the remaining channel to

its level.

Changing meter resolution

You can select the meter resolution. This is useful when building a project from several media source pools
that have varying volume levels. To change the resolution, right-click a meter and choose the desired
resolution from the shortcut menu.

Note:

Changing the meter resolution of one fader
automatically changes all other meters in the mixer to match
the selected resolution.

GETTING STARTED CHP. 2

Adjusting for clipping

The volume of certain media files may cause a meter to clip. Clipping results in a distorted audio signal and
displays in a red indicator at the top of the meter. If the meter clips, lower the volume and click the red clip
indicator to reset the meter. Continue adjusting the fader and resetting the meter until you eliminate the
clipping.

Tip:

You can also reset a meter by right-clicking it and

choosing Reset Clip from the shortcut menu.

Saving, rendering, and delivering projects

Though you are provided with the tools to quickly build impressive musical projects, you may find yourself
building elaborate projects over a period of weeks or even months. While you are working on a project, you
should save it in the ACID native format: the ACID project file (.acd).

55

Important:

If you save a project originally created in an
earlier version of ACID software in ACID version 5.0, it
will be unusable in earlier versions of the software. Use the
Save As dialog to save the project with a new name after
editing it in version 5.0.

When you are finished building a project, you can render projects in a variety of formats. You should
determine the project’s final format (or formats) based on how you will deliver the media. For example, you
would render your project to a streaming media format if you plan to publish it to the Internet.

Note:

Be aware that projects containing MIDI files that are
routed to external MIDI ports must be rerouted to internal
DLS sets or VST instruments (VSTi) to be included in the
rendered mix. For more information, see Rendering projects

with MIDI tracks on page 193.

CHP. 2 GETTING STARTED

56

Saving projects

An ACID project file (.acd) is the default file format for saving a new project and should be used for saving
unfinished projects. There are two ACID project file types.

Format Extension Description

ACID Project File .acd Contains all information regarding the project including

ACID Project with
Embedded Media

1.

To save a file, display the Save As dialog using any of the following options:

.acd-zip Contains all information regarding the project including

track layout, envelope settings, and effects parameters.
However, this type of file does not contain actual audio,
only references to the audio files.

track layout, envelope settings, and effects parameters. In
addition, all audio files used in the project are embedded
into the project file.

If you save a project in .acd-zip format, the project file and
all media files are copied to a temporary files folder. If you
continue to work on your project after saving the .acd-zip
file, your changes are saved to the files in this temporary
folder.

You can customize the location of the temporary files
folder. For more information, see Using the General tab
on page 223.

• Click the

• From the

• Press .

2.

From the Save in drop-down list, choose the drive and directory where the file will be saved.

3.

Enter a name for the project in the File name box.

4.

From the Save as type drop-down list, choose the desired ACID project file type.

5.

If you want to save a copy of each of the project’s media files to the same location as your project file,
select the

6.

Click Save. The project is saved.

Save button ( ) on the toolbar.

Edit menu, choose Save.

Ctrl +S

Copy all media with project check box. This is available when saving as an ACID project file.

Once the project is saved, you can use the Save As command
from the

File menu to create a copy of the project with a new

name or save to a different ACID project file format.

GETTING STARTED CHP. 2

Rendering projects

Rendering refers to the process of converting the ACID project into a file that is formatted for a specific
playback method. Possible playback methods include media player applications, Internet streaming media,
CD-ROM, and CD audio. When an ACID project is rendered, it is not overwritten, deleted, or altered and
you are able to return to the original project to make changes and re-render.

1.

From the File menu, choose Render As. The Render As dialog appears.

2.

From the Save in drop-down list, choose the drive and folder where the file will be saved.

3.

Enter a new name for the project in the File name
box.

4.

From the Save as type drop-down list, choose the
desired file format.

5.

If the selected file type supports it, you can choose
an encoding template from the
down list, or click

Custom to create a new

template. For more information, see Creating custom

rendering settings on page 58.

6.

Select or clear the following check boxes as
needed:

Te mp l a te drop-

57

• Select the

rendered media

Save project as path reference in

check box if you want to save the
project path information with the rendered file
to easily return to your source project if you use
your rendered file in another project. This

check box is only available in ACID Pro
software.

Note:

If you modify the project file after rendering, the
project data will no longer match the rendered file. To edit a
project using a path reference, the project file and all media
must be available on your computer.

• Select the

Render loop region only check box if you want to save only the portion of the project that is

contained within the loop region. The loop region does not need to be active for this option to work.

• If the selected file type supports it, you can select the

Save project markers with media file check box to

include markers and regions in the rendered media file.

• Select the Save each track as a separate file check box to save each track to a separate file. All of the

volume adjustments, panning, FX, and events are saved with the track. You can also use this feature to
create tracks that you can use in multitrack recording software or Macromedia® Flash®. This check

box is only available in ACID Pro software.

• If your project contains video, you can select the

box to have your video reformatted so that it fills the output frame size listed in the

Stretch video to fill output frame (do not letterbox) check

Description box.

When the check box is cleared, the current aspect ratio is maintained and black borders are added to fill
the extra frame area (called letterboxing). This check box is only available in ACID Pro software.

• If your project contains video and you see unacceptable artifacts in the rendered video, you can clear

Fast video resizing check box. Turning off this option can correct the artifacts, but your rendering

the
time will increase significantly. This check box is only available in ACID Pro software.

7.

Click Save. A progress dialog appears.

CHP. 2 GETTING STARTED

58

8.

When rendering is complete, you can choose one of the following options:

• Click

• Click

• Click

Open to start the associated media player and play the newly rendered file.
Open Folder to open Windows Explorer and display the location of the newly rendered file.
Close to close the progress dialog and return to the ACID window.

Supported formats for rendering

The following table briefly describes the file formats available for rendering a project.

Format Extension Description

AIFF File .aif The standard audio file format for audio used on Macintosh

MPEG-1 and MPEG-2 .mpg MPEG files are a format used when burning audio and video to a

MPEG-1 Layer 3 .mp3 A highly compressed format used for portable digital players and

Ogg Vorbis .ogg A patent-free audio encoding and streaming technology.
QuickTime .mov QuickTime® for Microsoft Windows.
RealMedia .rm The RealNetworks® standard for streaming media via the Web.

Sony Perfect Clarity
Audio

Sony Wave64 .w64 A Sony proprietary wave format that does not have a restricted

Video for Windows .avi The standard video file format used on Windows-based

Wave .wav The standard audio file format used on Windows-based

Windows Media Audio .wma The Microsoft® audio format used to create files for streaming or

Windows Media Video .wmv The Microsoft audio and video format used to create files for

.pca A Sony proprietary lossless audio compression format.

computers.

Video CD, Super Video CD, or DVD. MPEG-1 and MPEG-2 file
creation is supported through the use of the MainConcept MPEG
plug-in.

Internet sharing of media. 20 free MP3 encodes are provided.
After you have used the free encodes, you must register the
plug-in to continue rendering MP3s.

This option renders both audio and video into one file.

file size (unlike Windows standard WAV format which is limited to
~2GB).

computers.

computers.

downloading via the Web.

streaming or downloading via the Web.

Note:

Some plug-ins, such as MP3, may require

registration.

Creating custom rendering settings

The Custom Settings dialog appears when you click Custom in the Save As dialog. You can use the Custom
Settings dialog to create custom encoding templates for many of the file formats available in the software.

1.

From the File menu, choose Render As. The Render As dialog appears.

2.

Choose your preferred file format from the Save as type drop-down list. If the format allows you to create
custom settings, the

3.

Click Custom. The Custom Settings dialog appears.

GETTING STARTED CHP. 2

Custom button becomes active.

4.

Make the appropriate setting changes for the chosen file format. For help on individual settings, click the

What’sThis? Help button ( ) and click a setting.

Tip:

To save the custom settings for future use, enter a name

for the template in the

Te mp l a te button ( ).

5.

Click OK. The Custom Settings dialog closes.

Te mp l a te box and click the Save

Publishing to the Internet

When your project is finished, you have the option of publishing it to the Internet. The most common place
to publish your project is ACIDplanet.com, a virtual community of ACID users. ACIDplanet.com allows
you to do the following:

• Share your music.

• Listen to projects built by other ACID enthusiasts.

• Download free loops.

• Enter remix contests co-sponsored by Sony and major record labels.

Publishing your project to the Internet involves two distinct procedures: creating a personal account and
uploading the project.

59

Creating a personal account

You can create accounts at Web sites where you can publish your song files. Each Web site that offers
publishing directly through ACID software will guide you through its own account creation process. If you
haven’t created an account and you attempt to publish a song, you will be directed to complete the Publish
Setup utility.

1.

From the File menu, choose Publish Setup.

2.

Follow the on-screen instructions to set up your account.

At any time, you can go back and create another account at a different Web site. The Web site you are
currently logged into in the Publish Setup utility is where your song is published when you choose
from the

Uploading a project

File menu.

Publish

Publishing a project file copies your media to the Web so you can share it with other Web users. The
following procedure assumes you already have an account set up with a publish provider. If not, you will first
be redirected to set up an account. After successfully creating an account, you will be directed back to the
Publish feature.

1.

From the File menu, choose Publish. The Publish dialog appears.

2.

Select the appropriate radio button to specify whether the song to be published is the current ACID song
or a different song.

• To publish your current ACID song, choose a streaming format and bit rate.

• To publish a different song, enter the path to the song or click

Browse to locate the file. This song must

already be in a streaming format.

3.

Click Next. If you are publishing the current ACID song, it is rendered in the format and bit rate you
specified. A window appears from the publish provider with directions for completing the publishing
process.

4.

Follow the instructions provided by the publish provider. The file begins uploading to the provider. A
progress dialog informs you when the upload is finished.

CHP. 2 GETTING STARTED

60

5.

Click OK. The publish provider provides a link to the song on their Web site; however, this may vary
depending on provider.

Writing to CD

You can burn your projects to CD using supported CD-R/CD-RW drives. You can burn CDs for multiple- or
single-track projects and build audio CD layouts automatically or manually. You can also create video CDs
that can be played in many home DVD players and on computers with a CD-ROM drive and VCD player
software, and multimedia CDs that can be played in any computer with the appropriate player.

Understanding track-at-once and disc-at-once

ACID software provides two ways to record audio to a CD-R disc: track-at-once and disc-at-once.

Track-at-once

Track-at-once writing records individual tracks to the disc and results in a partially recorded disc. However,
the CD-R disc remains unplayable on most systems until you close the disc. The advantage of track-at-once
writing is that you can record tracks onto the disc as you finish them versus waiting until you have finished
your whole album. Track-at-once writing burns the entire project as a single track.

Disc-at-once (Single Session or Red Book)

Disc-at-once writing is the most common burning method in the music industry. This writing mode is used
when creating a master disc to be sent to a disc manufacturer for mass replication. Disc-at-once works just as
it sounds. Multiple tracks of audio are written to the CD in one recording session.

Burning single tracks (track-at-once)

Note:

The entire project length is written to a CD track. If
your project has events on muted tracks that extend beyond
the end of the audible material, the muted events burn as
silence at the end of your CD track. To burn just a portion of
a project, create a loop region and select the

only check box.

1.

Insert a blank CD in a supported CD-R/CD-RW drive.

2.

From the Tools menu, choose Burn Track-at-Once Audio CD.

Burn loop region

Notice that the Burn Track-at-Once Audio CD dialog indicates the amount of time that the current
project will fill on the CD as well as the total amount of time remaining on the CD. If the

audio

value exceeds the Time available on disc value, you are not allowed to write the track to the CD.

Note:

If there is no CD in the CD-R/CD-RW drive, only

Time needed for

the Cancel button is available in this dialog.

GETTING STARTED CHP. 2

3.

Choose a setting from the Action drop-down list:

61

• Choose

Burn audio to begin recording audio to your CD when you click Start. You must close the disc

before it can be played in an audio CD player.

• Choose

Test, then burn audio to test whether your files can be written to the CD without encountering

buffer underruns. Recording begins after the test if it is successful.

• Choose

Test only to test whether your files can be written to the CD without encountering buffer

underruns. No audio is recorded to the CD.

• Choose

Close disc to close your disc without adding any audio when you click Start. Closing a disc allows

your files to be played on an audio CD player. You cannot add tracks to a CD once it has been closed.

• Choose

4.

Select your burning options:

• Select the

• Select the

Erase RW disc to erase a rewritable CD when you click Start.

Erase RW disc before burning check box to erase a rewritable CD before you begin burning.
Close disc when done burning check box to close the CD after burning. Closing a disc allows

your files to be played on an audio CD player. You cannot add tracks to a CD once it has been closed.

• Select the

• Select the

Eject disc when done check box to eject the CD automatically when burning is complete.
Burn selection only check box to burn only the selected region. Clear the check box to burn

the entire project.

• Select the

Render temporary image before burning check box if you want to render your CD project to a

temporary file before recording. Prerendering can prevent buffer underruns if you have a complex
project that cannot be rendered and burned in real time.

Note:

The rendered temporary file will remain until you
modify your project or exit. If an image file exists when you
Open the Burn Disc-at-Once Audio CD dialog, the check
box is displayed as Use existing rendered temporary image.

5.

From the Drive drop-down list, choose the drive for burning CDs.

6.

From the Speed drop-down list, choose the speed at which you want to burn. Choosing Max uses your
drive’s fastest possible speed; decrease the setting if you have difficulty burning because of buffer
underruns.

7.

Click Start.

Important:

Once the CD writing begins, cancelling the

write operation renders the CD unusable.

Disc-at-once (DAO) CD burning

The DAO burning process involves arranging your media on the timeline, adding pauses between tracks as
necessary, inserting track markers, and burning your CD.

CHP. 2 GETTING STARTED

62

Adding pauses

Each CD track in your project should have a two-second pause following it. This default setting is based on
the Red Book specification for audio CDs. The exception to this standard is a continuous recording, such as
a live concert CD. For a continuous recording, you can omit the pauses after tracks for continuous playback.
You can manually insert silence between your audio files to create a pause.

Note:

The Red Book specification also requires a two-second
pause at the beginning of an audio CD. This pause is
automatically added when you burn your CD.

1.

Position your audio files on the timeline in the order in which you want them to play on your CD.

2.

Position the cursor where you want to insert the pause between files.

3.

From the Insert menu, choose Time. The Insert Time dialog appears.

4.

Enter two seconds in the Amount of time to insert box.

5.

Click OK. Two seconds are inserted in the timeline at the cursor position.

Inserting CD track markers

You can use CD track markers in your project to indicate to the CD-R device where to mark the beginning
and ending of a track during the writing process. A Red Book CD can contain up to 99 tracks.

1.

Position your audio files and add pauses between them as necessary. For more information, see Adding pauses
on page 62.

2.

Position the cursor at the start of an audio file.

3.

From the Insert menu, choose CD Track Marker. The marker appears in the marker bar and is
automatically numbered.

Important:

You must place your first CD track marker at
the beginning of your project. Audio placed before the first
marker will not be burned to CD.

Tip:

Once you have inserted a marker, you can move or

delete them as needed.

4.

Repeat step 3 until you have marked all CD tracks.

GETTING STARTED CHP. 2

Burning a disc (disc-at-once)

1.

Insert a blank CD in a supported CD-R/CD-RW drive.

2.

From the Tool s menu, choose Burn Disc-at-Once Audio CD. The Burn Disc-at-Once Audio CD dialog
appears.

3.

From the Drive drop-down list, use the CD drive that you want to use to burn your CD.

4.

From the Speed drop-down list, choose the speed at which you want to burn. Max will use your drive’s
fastest possible speed; decrease the setting to prevent the possibility of buffer underruns.

5.

Select the Buffer underrun protection check box if your CD recorder supports buffer underrun protection.

Buffer underrun protection allows a CD recorder to stop and resume burning.

Note:

Buffer underrun protection can create a disc that can
be played in CD players, but may contain a bit error where
burning stopped and restarted. Consider clearing this check
box when creating a premaster disc.

6.

Choose a radio button in the Burn mode box:

•

Burn CDs begins recording audio to your CD immediately.
Test first, then burn CDs performs a test to determine whether your files can be written to the CD recorder

•

without encountering buffer underruns. No audio is recorded to the CD during the test, and recording
begins after the test if it is successful.

•

Test only (do not burn CDs) performs a test to determine whether your files can be written to the CD

recorder without encountering buffer underruns. No audio is recorded to the CD.

63

7.

Select the Render temporary image before burning check box if you want to render your CD project to a
temporary file before recording. Prerendering can prevent buffer underruns if you have a complex project
that cannot be rendered and burned in real time.

Note:

The rendered temporary file will remain until you
modify your project or exit. If an image file exists when you
Open the Burn Disc-at-Once Audio CD dialog, the check
box is displayed as Use existing rendered temporary image.

8.

Select the Automatically erase rewritable discs check box if you’re burning to rewritable media and want to
erase the disc before burning.

9.

Select the Eject when done check box if you want the CD to eject automatically when burning has
completed.

10.

Click OK to start burning.

CHP. 2 GETTING STARTED

64

GETTING STARTED CHP. 2

CHAPTER

Editing Events

3

3

In this chapter, you’ll learn about basic event editing techniques such as cutting, copying, pasting, trimming,
splitting, and joining events. You’ll also learn how to use ripple editing to expand the possibilities of timeline
editing. Finally, you’ll take a look at advanced editing techniques such as slipping and sliding events,
changing event properties, and adding event envelopes.

Note:

For the basic event editing topics in this chapter, make
sure that ripple editing is turned off. Verify that the

Edits

command in the Options menu is not selected. For

more information, see Ripple editing on page 71.

Ripple

65

Copying events

Copying an event, a time selection, or event within a time selection places an exact copy of the selected
event(s) on the clipboard, but leaves the track view unchanged. Events copied to the clipboard can be
pasted in the project an unlimited number of times. In addition, clipboard content remains on the clipboard
until replaced by new content.

1.

Select the event data you want to copy or make a time selection. For more information, see Making

selections on page 44.

2.

Copy the event data using any of the following methods:

• Click the

• Choose

• Right-click the selection and choose

• Press .

Copy button ( ) on the toolbar.

Copy from the Edit menu.

Copy from the shortcut menu.

Ctrl +C

Pasting events

The clipboard’s contents can be pasted in a project an unlimited number of times. However, an event is
always pasted in the track it was copied/cut from. In addition, pasting the contents of the clipboard over an
existing event results in the pasted event overlapping the existing event. To avoid pasting over existing
events, you have two options:

• Use the

• Turn on ripple editing. For more information, see Ripple editing on page 71.

Paste Insert command. For more information, see Using Paste Insert on page 66.

CHP. 3 EDITING EVENTS

66

When events are cut/copied to the clipboard and subsequently pasted into a project, the time data inherent
in the cut/copied events is maintained and pasted. For example, if you select two events on the same track
that are separated by five seconds of silence, copying and pasting these events results in the five seconds of
silence also being pasted into the project.

Original events

Pasted events

Taking this concept a step further, if you select discontinuous events from several tracks, copying and pasting
these events results in any selected time data being pasted into the project as well. This maintains the
relative position of events in the project.

Original events Pasted events

Using the Paste command

1.

Place the cursor at the desired position on the timeline.

2.

Paste the clipboard contents using any of the following methods:

• Click the

• Choose

• Right-click the track view and choose

• Press .

Paste button ( ) on the toolbar.

Paste from the Edit menu.

Paste from the shortcut menu.

Ctrl +V

Using Paste Repeat

When building projects, you often need to paste the contents of the clipboard several times. Rather than
repeatedly pasting and moving the content, the
times and at what interval the clipboard’s contents are pasted on the track view. This is a useful way of
quickly building a project that uses a repetitive riff or structure. For example, you can build the backing
tracks for a twelve-bar blues, copy them, and use

Paste Repeat command allows you to specify the number of

Paste Repeat to paste several copies of it in the project.

1.

Click the Time Selection Tool button ( ).

2.

Drag the mouse in the track view to create a time selection spanning several events and copy it to the
clipboard.

3.

Click the Go To End button ( ) on the transport bar or press to send the cursor to the end of

Ctrl +End

the project.

Ctrl

4.

From the Edit menu, choose Paste Repeat or press . The Paste Repeat dialog appears.

5.

Enter a number in the Number of times to paste box.

6.

Select the End to end radio button and click OK. The events are pasted end to end the number of times

+B

specified in step five, starting at the cursor position.

Using Paste Insert

To insert the contents of the ACID clipboard at the current cursor position and force existing events to
move in time to accommodate the pasted events, choose

If the cursor is in the middle of an event, the event splits at the cursor position where the new events are
pasted. For more information, see Splitting events on page 68.

EDITING EVENTS CHP. 3

Paste Insert from the Edit menu.

67

Pasting events at the play cursor

You can also paste the contents of the clipboard at the cursor during playback. You can use this feature to
create rhythms on one-shot tracks while listening to the track you’re editing in the context of the rest of
your project. When you’re done creating events, you can use the

Render to New Track command (on the Edit

menu) to save the rhythm to a new track, or you can copy and paste your new events across the timeline.

1.

Create a time selection in the portion of the project you want to edit.

2.

Select the Loop Playback button ( ).

3.

Copy the one-shot you want to use.

4.

Click the Play button ( ) to start playback.

Y

5.

Shift

Press + to paste at the play cursor (during playback, the edit cursor remains fixed, and the play
cursor follows playback).

If snapping is enabled, events are pasted at the next snap point. You can use snapping to quantize your
events.

6.

Repeat step 5 as needed.

7.

Click the Stop button ( ) when you’re finished creating events.

8.

Edit event positions as necessary.

Tip:

If you're using this feature to tap rhythms with one-shot
tracks, try applying a groove to adjust the timing of your
rhythm.For more information, see Working with grooves on
page 135.

Cutting events

Cutting an event, a time selection, or an event within a time selection removes the audio data from the
track view and places it on the clipboard. Once data is placed on the clipboard, it can be pasted back into
the project an unlimited number of times. Clipboard content remains on the clipboard until it is replaced by
new data.

1.

Select the event data you want to cut or make a time selection. For more information, see Making selections
on page 44.

2.

Cut the event data using any of the following methods:

• Click the

• Choose

• Right-click the selection and choose

• Press .

All selected events are removed from the track view and placed on the clipboard.

Cut button ( ) on the toolbar.

Cut from the Edit menu.

Cut from the shortcut menu.

Ctrl +X

CHP. 3 EDITING EVENTS

68

Deleting events

Deleting an event, a time selection, or an event within a time selection removes the data from the track view
and discards it. Deleted events are not placed on the clipboard and do not replace or interfere with current
clipboard content. In addition, deleted events cannot be pasted back into a project.

Note:

Deleted data can only be replaced in a project using

the

Undo command. For more information, see Using undo

on page 50.

1.

Select the event data you want to delete or make a time selection. For more information, see Making

selections on page 44.

2.

Delete the event data using any of the following methods:

• Choose

• Right-click the selected event and choose

• Press .

Delete from the Edit menu.

Delete from the shortcut menu.

Delete

All selected events are removed from the track view and discarded.

Reversing events

You can select events in the timeline and reverse their audio and peak data. Select an event in the
timeline, right-click, and choose

Reverse (or press ) from the shortcut menu. An arrow appears

B

on the event in the timeline to indicate that it has been reversed.

Trimming events

Whereas deleting allows you to select event data to be removed from the project, trimming allows you to
select the data that remains. Trimming is performed by creating a time selection or selecting an event within
a time selection and subsequently deleting all unselected data.

1.

Create a time selection or select specific events within a time selection. For more information, see Creating

time selections on page 46.

2.

Ctrl +T

Press to trim the data within the selection. All unselected event data is removed from the track
view and discarded.

Splitting events

Splitting is a quick way to create independently functioning events from a single one. You might consider
splitting an event if you want to adjust a small part of the track. For example, you may want to apply pitch
shift to a guitar track for a few measures and then return the track to its original setting.

Splitting occurs at the cursor position or at the in and out points of a time selection. When you split an
event, a new ending point is created for the original event and creates a starting point for the newly created
event.

When you split an event, the newly created events abut each other. If
selected in the Event Properties dialog, fades are added at the split point. For more information, see Changing

event properties on page 75.

EDITING EVENTS CHP. 3

Quick fade edges to prevent clicks is

Split position Two events

However, you may move either of the events, which creates a gap.

69

Split position

Two events

Splitting at the cursor position splits all selected events that the cursor crosses on all tracks.

1.

Select the event(s) that you want to split.

2.

Place the cursor where you want the split to occur or make a time selection.

3.

From the Edit menu, choose Split or press . The result of the split depends on how events were selected.

S

Splitting at the cursor position

Splitting at the cursor position splits all events that the cursor crosses on all tracks.

Events before splitting Events after splitting

Cursor position
and split point

After the split, the three events
become six events

Splitting an event

Selecting a single event prior to splitting prevents other events from being split at the cursor’s position.

Events before splitting Events after splitting

Event to
be split

Cursor position
and split point

CHP. 3 EDITING EVENTS

Only the selected
event splits
at the cursor
position

70

Splitting multiple events

Selecting multiple events splits only the selected events at the cursor’s position. Be sure to set your cursor
position before selecting events. Attempting to set your cursor after selecting events causes you to lose your
event selection.

Events before splitting Events after splitting

Events to
be split

Cursor position
and split point

Only the selected
events split
at the cursor
position

Splitting a time selection

Making a time selection allows you to split events at the time selection’s in and out points across all tracks.

Events before splitting Events after splitting

Loop bar

In point Out point

Loop bar

Split point Split point

Splitting events within a time selection

When selecting events within a time selection, only the selected events in the time range split at the in and
out points.

Events before splitting Events after splitting

Selection bar

Event to be
split at the time
selection’s in and
out points

In point Out point

EDITING EVENTS CHP. 3

Selection bar

Only the selected
event splits at
the in and out
points

Split point Split point

Joining events

You may join events on ACID tracks that have been segmented along the timeline. Joining events is an
efficient way to redraw an event and remove any splits or silent regions between events.

You would want to join events if you decided that the event should play uninterrupted over the specified
time range.

1.

Select the events or range of events that you want to join. For more information, see Selecting multiple events
on page 44.

71

2.

From the Edit menu, choose Join or press . The selected events are joined.

J

Select all the events that you want to join.

You can also select the first and last events
you want to join, creating an event selection range.

After you join the events, a single event appears.

Joining events is similar to dragging the
edge of an existing event

Ripple editing

ACID software includes a ripple editing feature. This feature is a timeline-based procedure that allows you to
cut, delete, and paste events or portions of events within a time selection and simultaneously adjust the
position of all later events on a selected track. The existing events’ timeline position adjusts by the total
amount of the time selection that is being cut, deleted or pasted from the clipboard.

You may turn on ripple editing mode by choosing

Note:

Ripple editing is only available when a time selection is

present.

Ripple Edits from the Options menu or pressing .

Ctrl

+L

Cutting events in ripple editing mode

Cutting events or portions of events removes them and their time information from their respective tracks.
This information is placed on the clipboard, from which you may paste the information back into your
project.

1.

From the Options menu, choose Ripple Edits to enter ripple editing mode.

2.

Click the event to be cut or make a time selection.

To cut multiple events, use the key, the key, or the

Ctrl

more information, see Selecting multiple events on page 44.

3.

Click the Cut button ( ) on the toolbar to cut the event(s) to the clipboard.

The cut events and their time information are removed from the selected track(s) and placed on the
clipboard. Existing events in the selected track(s) move forward to occupy the space created by the cut.

CHP. 3 EDITING EVENTS

Shift

Selection ( ) tool to select the events. For

72

Cutting time selections in ripple editing mode

Events within the time selection are reproduced and placed on the clipboard. Also, the time information is
placed on the clipboard. Existing events occurring after the time selection move forward in the project by
the length of the time selection.

Events before cut Clipboard contents Events after cut

Existing events
adjust to occur
sooner in the
project

Cutting time and event selections in ripple editing mode

Events and portions of events within the time selection are reproduced and placed on the clipboard. Also,
the time information is placed on the clipboard. Existing events occurring later than the time selection move
forward by the length of the time selection. Only tracks containing selected events are affected by the ripple
edit.

Events before cut Clipboard contents Events after cut

Existing events on
the top track adjust
to occur sooner in the
project

Deleting events in ripple editing mode

Deleting events or portions of events removes them and their time information from their respective tracks.
However, this information is not placed on the clipboard. Existing events move forward when you delete
material from a selected track.

1.

From the Options menu, choose Ripple Edits to enter ripple editing mode.

2.

Click the event to be deleted or make a time selection.

To cut multiple events, use the key, the key, or the

Ctrl

more information, see Selecting multiple events on page 44.

3.

Deleting time selections in ripple editing mode

Delete

Press to delete the event(s).

Events within the time selection and their time information are removed from the project. Existing events
occurring after the time selection move forward in the project by the length of the time selection. When
information is deleted, it is not placed on the clipboard.

Events before delete Clipboard contents Events after delete

Deleted information is not
placed on the clipboard.

Shift

Existing events
adjust to occur
sooner in the
project

Selection ( ) tool to select the events. For

EDITING EVENTS CHP. 3

Deleting time and event selections in ripple editing mode

Events within the time selection and their time information are removed from the project. Existing events
occurring after the time selection move forward in the project by the length of the time selection. When
information is deleted, it is not placed on the clipboard.

Events before delete Clipboard contents Events after delete

Deleted information is not
placed on the clipboard.

Existing events on the
top track adjust to
occur sooner in the
project

Pasting events in ripple editing mode

Once information is copied to the clipboard, you may choose a variety of ways to paste the clipboard items
into tracks. For more information, see Pasting events on page 65. The following procedures explain pasting
information in ripple editing mode.

Note:

Events are always pasted into their own tracks at the

cursor position.

73

1.

From the Options menu, choose Ripple Edits to enter ripple editing mode.

2.

Move the cursor to the desired timeline location.

3.

Place the cursor within the track where you want to paste the event.

4.

Click the Paste button ( ) on the toolbar to paste the event into the track.

Clipboard information is pasted at the cursor’s position on the track. Existing events or portions of events
after the cursor adjust to occur later in the project. The amount of adjustment is based on the total length of
the information being pasted.

Pasting single track information in ripple editing mode

The information on the clipboard determines how many tracks are affected when you paste. If you have
copied or cut information from one track, only the selected track is affected by the pasted event and time
information.

Clipboard contents Events before paste Events after paste

Existing event
adjusts to move
later in the project.

Paste
position

Newly pasted
event

CHP. 3 EDITING EVENTS

74

Pasting multitrack information in ripple editing mode

Multiple events can be pasted as easily as single events.

Clipboard contents Events before paste Events after paste

Newly pasted events

These events will be
pasted

Note:

Pasting in ripple editing mode ripples only the events

Paste
position

Existing events on the tracks adjust
later in the project

on the tracks that receive the clipboard contents. If you want
to ripple all tracks at the paste position, use the

Paste Insert

command from the Edit menu.

Slipping and sliding events

To help you picture what happens when you slip and slide events, think of an event as a window to a media
file. The window can display the entire media file or a small section. When the window displays only a
portion of the media file, you can move either the window or the underlying media to adjust the media
played by an event:

• When you slip an event, your event maintains its place on the timeline, but the media file moves in the
direction you drag.

• When you slide an event, the media file maintains its place on the timeline, but the event moves in the
direction you drag.

Original loop event

Slipping the event two measures to the right

Slip-trimming the event two measures to the right

Sliding the event two measures to the right

EDITING EVENTS CHP. 3

Shifting the contents of (slipping) events

Alt

Hold while dragging an event. The slip cursor appears ( ).

As you drag the event, the contents of the event shift, but the event does not move. You can use this
technique when you want to maintain an event’s length and position but want the to event play a different
section of the source media file.

For creative ways to use event slipping, see Duplicating with offset on page 234.

Slip-trimming events

Alt

Hold while dragging the right or left edge of an event. The slip-trim cursor appears ( ).

As you drag the event edge, the media moves with the event edge.

Sliding events

Ctrl +Alt

Hold while dragging an event. The slide cursor appears ( ).

As you drag, the relative position of the media remains fixed on the track, and the event position changes.
You can use this technique when you want to maintain an event’s length but want the event to play a
different section of the source media file at a different point in your project.

Changing event properties

75

To access event properties, right-click the event and choose Properties from the shortcut menu, or simply
double-click the event.

These properties are saved in the project but are not saved into the file when you save changes to a track in
the Track Properties window

. For more information, see Saving file properties on page 135.

The following table describes each of the settings in the Event Properties dialog.

Item Description

Start offset The Start offset for an event specifies a playback starting position that is

different than the beginning of the file. This is especially useful for loops; you
can change the feel of a loop by simply starting on beat two rather than beat
one.

Pitch shift The Pitch shift value specifies a pitch shift for the selected event. Event-based

Speed The Speed setting allows you to change the playback speed of an event on a

Quick fade edges to
prevent clicks

Reverse Select the Reverse check box to reverse the event’s audio and peak data. An

pitch shift is calculated after the project key and any pitch shift assigned to a
track. For more information, see Changing tempo, time signature, and key on
page 104.

one-shot track. Changing the speed also changes the pitch.

When you add an offset to an event so that it does not end on a loop point, you
can introduce an audible click at the edges of the event. Select the Quick fade
edges to prevent clicks check box, and a quick fade-in or fade-out is performed
on the event edges.

To adjust a quick fade, zoom into the event and hover over the upper-left or

upper-right corner of an event until the cursor is displayed as . Drag the
edge of the fade to adjust its duration. For more information, see Setting an

event’s fade-in and -out envelope curve on page 76.

arrow appears on the event in the timeline to indicate that it has been reversed.

CHP. 3 EDITING EVENTS

76

Using event envelopes

You can use envelopes on individual events. Envelopes give you the ability to control each event’s fade-in,
fade-out, and overall volume. Envelopes are useful for transitional effects between events by subtly fading out
one event’s volume while another fades in.

These envelopes are different than track envelopes because they affect only the event whereas track
envelopes can affect multiple events on the track. For more information, see Using track envelopes on page 122.

The event’s volume level and fade curves are represented by a line on the event.

Setting an event’s volume envelope

You can control an event’s overall volume by setting an envelope at the desired decibel (dB) level.

1.

Place the mouse pointer at the top of the event. The envelope cursor ( ) appears.

2.

Drag the volume line to the desired level. As you drag the volume line, the event’s decibel level is
displayed.

3.

Release the mouse to set the event’s dB level.

After you set the event volume level, you may change it later by dragging the envelope line.

Setting an event’s fade-in and -out envelope curve

You can control an event’s envelope fade-in and -out characteristics by adjusting the event’s envelope
handles. These handles allow you to control the length and dB level of fade-ins and fade-outs. Also, you can
change the type of curve that the event uses to control the volume’s fade characteristics.

1.

Place the mouse pointer on the upper corner of the event. The envelope cursor ( ) appears.

2.

Drag the envelope cursor and position the envelope curve. As you drag the cursor, the following
information is displayed:

• The event decibel level.

• The length (in measures.beats.ticks) of the fade-in or fade-out.

3.

Release the mouse to set the fade-in or fade-out characteristics.

Changing the event’s fade curve type

You can set an event’s fade curves (fast, linear, slow, smooth, or sharp) that are used to raise or lower the
volume over time. Right-click the fade region, select
appropriate fade curve from the submenu.

Fade Type from the shortcut menu, and choose the

EDITING EVENTS CHP. 3

Creating crossfades between events

You can quickly create crossfades between overlapping events painted on different tracks.

1.

Select two events. The events must overlap, but do not need to be on adjacent tracks.

77

2.

F

Press . The end of the first event fades out, and the second event fades in.

For creative ways to use crossfades, see Creating DJ-style crossfades on page 240.

CHP. 3 EDITING EVENTS

78

EDITING EVENTS CHP. 3

CHAPTER

Using the Media Manager

1

1

This chapter covers the management and tagging of your media files in ACID Pro software using the Media
Manager™ feature.

The Media Manager feature is available only in ACID Pro software.

Creating a new media library

You can create multiple media libraries as necessary to organize your media. Each media library is maintained
by the Media Manager software as a separate database that stores information about the media contained
within it.

1.

From the Media Manager window, click the Media Library actions button ( ) and choose New Media

Library

from the menu. The New Media Library dialog is displayed.

79

2.

In the Name box, type the name you want to use to identify the library.

3.

The Folder box displays the path to the folder where the library will be created. Click Browse to choose a
different location.

4.

Click the Create button to create the new library.

Opening a media library

The Media Manager window displays the contents of the current media library. You can open a different
library at any time.

Important:

Manager tool creates a transaction log file. This file is created
in the same folder as the .medialib file and uses the same base
name as the .medialib file. For example, the transaction log
file for default.medialib would be default_log.ldf.
Do not delete these log files. Doing so will prevent you from
opening the associated library. When the Media Manager tool
closes, it automatically removes the log file. If the application
terminates inappropriately, close all running ACID
windows, restart ACID software, and close the application to
clear the log file.

When you open a media library, the Media

1.

In the Media Manager window, click the Media Library Actions button ( ) and choose Open Media Library
from the menu. The Open Media Library dialog is displayed.

CHP. 1 USING THE MEDIA MANAGER

80

2.

Choose the folder where the library you want to open is stored:

• Choose a drive and folder from the

Look in drop-down list.

—or—

• Use the bar on the left side of the window to browse to a folder.

3.

Select a library from the list.

4.

Click the Open button to open the selected library. The name of the current library is displayed in the
upper-right corner of the Search Results pane:

Adding media files to a library

Before you can search or organize your media files, you’ll need to add them to a media library.

When the Sony Sound Series Loops & Samples™ reference library is installed and set as the active reference
library in the Media Manager Options dialog, tags and custom properties from the reference library will be
applied to media from existing Sony Sound Series Loops & Samples or Loops for ACID collections when you
add media to your library. For more information on Media Manager options, see Setting Media Manager

options on page 94.

Note:

The Sony Sound Series Loops & Samples reference
library is not installed by default, but you can install it from
the ACID CD or download it from the Sony Media Software
Web site (http://mediasoftware.sonypictures.com/reference).
After installing the library, go to the Media Manager Options
dialog and choose the reference library from the

library drop-down list.

Tip:

If the Save media-usage relationships in active media

Reference

library check box is selected on the General tab of the ACID
Preferences dialog, you can add individual files to a library by
previewing the files in the ACID Explorer window.

1.

Click the Add Files to Media Library button ( ). The Add Files to Media Library dialog is displayed.

2.

Choose the folders that will be searched for media:

a.

If it isn’t displayed automatically, click the Add Folder button ( ) to display the Browse for Folder
dialog.

b.

Select the folder you want to search.

c.

Click OK.

USING THE MEDIA MANAGER CHP. 1

Tips:

If you want to change an item in the folder list, select it

and click the Browse button () in the Folders column.
If you want to remove a folder from the list, select it and click

the Remove Folder button ().

3.

Repeat step 2 for each folder you want to search.

4.

Select the Include subfolders check box if you want to search folders within the selected folders.

5.

Select the Audio, Video, Images, or MIDI check boxes to indicate the types of media you want to add. Clear
a check box to exclude that type of media file.

81

Files that contain audio and video streams will be added if either or both of the

Audio or Video check boxes

are selected.

6.

Specify whether you want to search for new files or all files:

• Select the

New files only radio button if you want to search only for new media files. Files that already

exist in the media library will be skipped.

—or—

• Select the

All files radio button if you want to search for all media files in the specified folder. New media

files will be added, and files that already exist in the media library will be searched to determine whether
their properties have changed.

7.

Select the Add tags and custom properties from files check box if you want to add tags and custom columns
saved in the media files to your library. For more information about tagging media, please see Tagging media

files on page 82. For information about adding custom columns to the Search Results pane, see Adding custom
columns on page 94.

8.

Select the Use file and folder names to apply tags automatically check box if you want to automatically tag files
based on the file path.

For example, when this check box is selected, a loop saved in the

d:\loops\drums\hi-hats\ folder would have

the tags Drums and Hi-Hats applied when it is added to the library. Some synonyms (and variant
spellings) will be resolved automatically. If you need to modify the pattern-matching, you can edit the
AutoTagPatterns.xml file, which is created in your

My Documents\Sony Media Libraries folder the first time

the application starts.

Note:

Changing the selection of the Add tags and custom

properties from files
tags automatically

and Use file and folder names to apply

check boxes also changes the settings in the

Media Manager Options dialog.

9.

Click the Search button to start adding files to the library.

10.

Click the Close button when you’re finished.

A tag is automatically added to the Tag tree when you search. The tag name will include the date and
time of the search, and all files that were added or updated in the library are marked with this tag.

CHP. 1 USING THE MEDIA MANAGER

82

Removing media files from a library

You can remove a reference to a media file from a library without affecting the media file itself.

1.

Select files in the Search Results pane to choose the files you want to delete:

• To select a single file, click the file.
—or—

• To select multiple consecutive files, click the first file, hold the key, and then click the last item.

Shift

—or—

• To select multiple files that are not consecutive, hold the key and click each file.

2.

Right-click a selected file and choose Remove from Library from the shortcut menu (or press the key

Ctrl

on your keyboard). A confirmation dialog is displayed.

3.

Click OK to remove the selected files from the library.

Tagging media files

Tagging helps you classify your media files. For example, if you wanted to keep track of loops played by a
specific instrument, you could create a tag with the name of the instrument and apply it to the appropriate
loops. Similarly, you could create tags for genres, moods, seasons, client names, locations, scenes, performer
names, and so on.

When you create a new library, a default tag tree is displayed in the Tags pane. You can create your own tags
to customize the tags for your needs. Tags are the fastest way to search a media library, and they require very
little disk space.

Tags are saved in your media library. If a media file exists in multiple libraries, tagging the media file in one
library has no effect on the other libraries unless you save the tags to the files and use the Add Files to Media
Library dialog to update tags and custom properties for all files.

Tip:

If you want to see which tags are associated with a file as
you’re adding or removing tags, drag the Tags column in the
Search Results pane to the left so you can see the Name and
Tags columns at the same time.

Delete

Creating a tag

Adding tags creates new tags in the current library only.

1.

Click the Add Tag button ( ) to add a new tag to the tree.

If a tag is selected, the new tag will be added below the selected tag. If no tag is selected, the new tag will
be added to the bottom of the tag tree.

2.

Type a name for the tag.

3.

4.

5.

USING THE MEDIA MANAGER CHP. 1

Enter

Press .

If you want to change the icon used to display the tag, right-click it and choose Edit from the shortcut
menu to display the Tag Editor dialog.

If you want to change the tag’s location, drag it to a new location in the tag tree.

Applying a tag to a media file

You tag media by dragging a tag from the tag tree to a media file in the Search Results pane (or by dragging a
media file to a tag) when the

1.

Select media files to tag in the Search Results pane:

• To select a single file, click the file.
—or—

Add Tag Mode button ( ) is selected.

83

• To select multiple consecutive files, click the first file, hold the key, and then click the last item.

Shift

—or—

• To select multiple files that are not consecutive, hold the key and click each file.

2.

Click the Add Tag Mode button ( ) in the Search pane.

3.

Drag a tag from the tag tree to the selected file(s).

Tip:

You can also right-click a selection in the Search Results

pane and choose

Add Tag from the shortcut menu to add a tag

Ctrl

to all selected media. The Tag Chooser dialog will be
displayed. Select the tag you want to add, and then click the

OK button.

When you add a subtag to a media file, the tag’s hierarchical position in the tag
tree is applied implicitly.

In this example, adding the “Snare” tag to a media file would mean that a search
for “Audio,” “Drum One-Shots,” or “Snare” would find your tagged media. If
the user rearranged the tag tree so that the “Snare” tag did not appear below the
“Audio” and “Drum One-Shots” tags, searching for “Audio” or “Drum One-
Shots” would not find your tagged media.

If you add all three tags to your media file, a search for “Audio,” “Drum One­Shots,” or “Snare” would find your tagged media even if the tag tree had been
rearranged, though this behavior is not always desirable.

Removing a tag from a media file

You remove tags from media by dragging a tag from the tag list to a media file in
the Search Results pane (or by dragging a media file to a tag) when the

selected.

1.

Select media files in the Search Results pane:

• To select a single file, click the file.
—or—

• To select multiple consecutive files, click the first file, hold the key, and then click the last item.
—or—

• To select multiple files that are not consecutive, hold the key and click each file.

CHP. 1 USING THE MEDIA MANAGER

Ctrl

Remove Tag Mode button ( ) is

Shift

84

2.

Click the Remove Tag Mode button ( ) in the Search pane.

3.

Drag a tag from the tag tree to the selected file(s). The tag is removed from the file(s).

Deleting a tag from a library

Deleting the selected tag(s) affects the current library only.

1.

In the Search pane, select the tag(s) to be removed:

• To select a single tag, click the tag.
—or—

• To select multiple consecutive tags, click the first tag, hold the key, and then click the last tag.

Shift

—or—

• To select multiple tags that are not consecutive, hold the key and click each tag.

2.

Click the Delete Selected Tag button ( ) to delete the tag from the current library. A confirmation dialog

Ctrl

is displayed.

3.

Click OK to remove the selected tags from the library.

Merging subtags

Merging tags combines a selected tag with its subtags and removes the subtags from your library permanently.

To merge a tag with its subtags, right-click the tag and choose

Merge Subtags into Selected Tag from the

shortcut menu.

All subtags are combined with the main tag, and the subtags are removed from the library. All media
formerly associated with the subtags is associated with the main tag.

Arranging tags in the tag tree

Tags are displayed in a tree view in the Media Manager window. You can organize tags hierarchically: click
the Expand button ( ) in the Search pane to expand a list, or click the Collapse button ( ) in the Search

pane to hide an expanded list.

You can drag, copy, and paste tags within the list to arrange them and create parent and child tags.

You can also display tags in a palette view by clicking the

Change Tags View button ( ).

Editing tag names or images

1.

Double-click a tag (or right-click a tag and choose Edit from the shortcut menu) to display the Tag Editor
dialog.

2.

In the Tag name box, type the name you want to display for the tag.

3.

Select a thumbnail image to choose the icon that will be displayed for the tag in the Search pane and in
the Search Results pane when the tag is added to a media file.

4.

Click the OK button to apply your changes and close the Tag Editor dialog.

USING THE MEDIA MANAGER CHP. 1

Viewing or creating palettes

The palette view provides another way of working with tags that can be useful for more focused searching.
You can use a palette to concentrate on a portion of the current tag tree.

In the palette view, tags are displayed as a grid of buttons instead of the standard hierarchical tag tree.

1.

Click the Change Tags View button ( ) to toggle the display of the tag tree and palette view.

2.

Click the down arrow next to the button to choose a saved palette or create a new palette.

Creating a palette

Click the down arrow next to the Change Tags View button ( ) and choose New Palette from the

1.

menu. The New Palette dialog is displayed.

2.

In the Name box, type the name you want to use to identify the palette.

3.

In the Rows box, specify the number of rows of buttons you want to display in the palette.

4.

In the Columns box, specify the number of columns of buttons you want to display in the palette.

5.

Click OK to create the palette. The palette is displayed as a grid with empty buttons.

Assigning palette buttons

Perform either of the following actions to display the Tag Chooser dialog:

1.

• Click an empty palette button.
—or—

85

• Click an existing button and choose

2.

Select the tag you want to assign to the button.

3.

Click the OK button.

Clearing a button

Choose Tag from the shortcut menu.

Right-click a palette button and choose Clear from the shortcut menu.

Deleting a saved palette

Right-click a palette button and choose Delete Current Palette from the shortcut menu.

1.

2.

Click the OK button when prompted to delete the palette from your library.

CHP. 1 USING THE MEDIA MANAGER

86

Saving tags and properties to media files

Saving tags and properties to files makes all your organization portable: if tags and custom properties are
saved to files, that information will be preserved in the files and can be added to the library by selecting the

Add tags and custom properties from files check box in the Add Files to Media Library dialog.

Saving tags and properties to files affects only the current media library and libraries that you create after
saving the information. If you have multiple libraries, you can add embedded tags and custom columns to
existing libraries by opening the desired library and rescanning your media folders with the

custom properties from files

check box selected in the Add Files to Media Library dialog. Embedded file

properties are also updated when you preview or add media to a project.

The following file formats can store this type of information internally:

• MP3

• Windows Media Format (WMA and WMV)

• WAV

• WAV 6 4

• SFA

• PCA

• Scott Studios

For other file types, the Media Manager tool will save metadata to an .sfl file (using the same base name as
your media file).

Follow these steps to save tag and property information in your media file(s):

Add tags and

1.

In the Search Results pane, select media files for which you want to save tags and properties:

• To select a single file, click the file.
—or—

• To select multiple consecutive files, click the first file, hold the key, and then click the last item.

Shift

—or—

• To select multiple files that are not consecutive, hold the key and click each file.

2.

Click the Save Tags and Properties to File(s) button ( ) in the top right corner of the Search Results pane.

Ctrl

Tags and other information from the Search Results pane is saved for the selected file(s).

Backing up your media libraries

Media Manager software automatically saves your library as you make changes, so you don’t need to tell the
application explicitly to save your library as you're working.

However, you can create a backup of the current library as a restore point or as a template to create new
libraries.

1.

Click the Media Library Actions button ( ) and choose Back Up Media Library from the menu. The Back Up
Media Library dialog is displayed.

2.

Choose a drive and folder from the Save in drop-down list, or use the browse window to locate the folder
where you want to save your backup.

3.

In the File name box, type the name you want to use to identify the library.

4.

Click the Save button.

To restore the backup at a later time, open the backup file.

USING THE MEDIA MANAGER CHP. 1

Opening a Reference Library

A reference library contains information about media from an outside source or vendor.

You can also use a reference library to search media files that you aren’t part of your collection. For example,
if you’re unable to find the perfect loop for an ACID project in your own collection, you could use the Sony
Sound Series Loops & Samples reference library to search the entire Sony Sound Series Loops & Samples
catalog and purchase a new loop library.

You can use the Media Reference Library drop-down list in the Media Manager Options dialog to determine
which library is opened when you click the

1.

Click the Switch to Media Reference Library button ( ). The reference library specified in the Media
Manager Options dialog is opened. Media in a reference library is displayed in gray text to indicate that
the files are not available on your computer.

2.

Find the media you’re looking for with a standard or advanced search.

3.

Tag media from the reference library as needed. For more information on tagging, see Tagging media files on
page 82.

4.

When you select a file in a reference library, the Product Information pane displays information about the
selected file and a link you can use to purchase the media.

Using the Sony Sound Series Loops & Samples reference library

Switch to Media Reference Library button ( ).

87

If you have the Sony Sound Series Loops & Samples reference library loaded when you search your computer
for media, media from existing Sony Loops and Samples or Loops for ACID collections will inherit tags and
custom properties from the reference library.

The Sony Sound Series Loops & Samples reference library is not installed by default, but you can install it
from the ACID CD or download it from the Sony Media Software Web site
(http://mediasoftware.sonypictures.com/reference). After installing the library, go to the Media Manager

Options dialog (click the
the reference library from the

Media Library Actions button ( ) and choose Options from the menu) and choose

Reference library drop-down list.

CHP. 1 USING THE MEDIA MANAGER

88

Searching for media files

You can use the Media Manager tool to search the current media library for media files using keywords or
tags.

Tips:

You can use the Search Results Limit box in the Media
Manager Options dialog to determine the maximum number
of media files you’d like to have returned in the results of your
searches. Increasing the
the amount of time required to search a library and can
significantly decrease performance if set excessively high.
When performing complex searches, consider creating
temporary tags to classify the results. If you apply a tag to the
files found by a complex search, you can return to those files
easily by searching on the tag. The Media Manager tool can
search for tags more quickly than it can perform keyword or
advanced searches.

Searching using a keyword

1.

Select the Quick text search check box in the Search pane and type a keyword (or keywords) in the edit
box.

Search Results Limit setting increases

Tip:

You can separate search terms using quotation marks

and other operators. If quotes or wildcard characters are not
applied, an * is automatically added before and after each
search term.

2.

Enter

Press .

The Media Manager tool searches your media files and displays the results in the Search Results pane on
the right side of the window. Any file that contains your keywords in the file name or attributes is
displayed (tags are not searched as keywords).

Your search terms are displayed in the yellow bar below the Search Results toolbar.

Keyword

Search terms

Search results

USING THE MEDIA MANAGER CHP. 1

3.

You can refine the search results using any of the following methods:

• Select tag check boxes.

• Use the Advanced search controls. For more information, see Using advanced search options on page 90.

• Choose

Match Any from the Match Any/Match All drop-down list to display all media that matches any of

your keyword, tag, or advanced search criteria. Using this option in the search displayed in step 2, the
Search Results pane would display all files that contain the keyword “EBow” OR the “Guitar” tag.

• Choose

Match All from the Match Any/Match All drop-down list to display only media that matches all of

your keyword, tag, and advanced search criteria. Using this option in the search displayed in step 2, the
Search Results pane would display all files that contain the keyword “EBow” AND the “Guitar” tag.

Searching using tags

In the Search pane, select the check box for each tag you want to find. The
Media Library searches your media files and displays the results in the Search
Results pane on the right side of the window.

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Choose

Match Any from the Match Any/Match All drop-down list if you want to

display all media that contains any keyword, tag, or advanced search criteria.
In the example to the right, the Search Results pane would display all files
that contain the tag “High Tom” OR the tag “Floor Tom.”

Choose

Match All from the Match Any/Match All drop-down list if you want to

display only media that includes all keyword, tag, and advanced search
criteria. In the preceding example, the Search Results pane would display only
files with tags “High Tom” AND “Floor Tom.”

Note:

If you have check boxes selected for parent and child
tags, those tags will be treated as an OR relationship
regardless of whether Match Any or Match All is selected.

Sorting search results

Click a column heading to sort the results in ascending or descending order based on that column.

Viewing previous searches

Click the Previous Search button ( ) in the top left corner of the Search Results pane to navigate through
your recent searches and update the contents of the Search Results pane.

After viewing previous searches, click the
Results pane to navigate back to your current search.

Next Search button ( ) in the top left corner of the Search

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90

Using advanced search options

If your media library contains many files and you’re searching for a very specific media file, the Advanced
section of the Search pane can help you zero in on exactly the file you want.

If you want to perform an advanced search to refine the results of a previous search, start by creating a quick
search or tag-based search and then perform the following steps.

Tips:

You can use the Search Results Limit box in the Media
Manager Options dialog to determine the maximum number
of media files you’d like to have returned in the results of your
searches. Increasing the
the amount of time required to search a library and can
significantly decrease performance if set excessively high.
When performing complex searches, consider creating
temporary tags to classify the results. If you apply a tag to the
files found by a complex search, you can return to those files
easily by searching on the tag. The Media Manager tool can
search for tags more quickly than it can perform keyword or
advanced searches.

1.

Add your search criteria:

a.

Click the Add New Search Criteria button ( ) in the Search pane. The Search Criteria Chooser is
displayed.

Search Results Limit setting increases

b.

Double-click an item in the Search Criteria Chooser or drag it to the Advanced section of the Search
pane.

Tips:

If an item in the Search Results pane displays a
button, you can click it to find related media. For example,
clicking the button in the following example adds an item to
the Advanced section to help you find other media with a beat
count of 16.
You can also drag a column heading from the Search Results
pane to the Advanced section of the Search pane.

2.

Set parameters for each of your search criteria. If the item displays an edit box, type the parameter you
want to search for. If the item is displayed as a hyperlink, click the value to display a control you can use
to set the value.

USING THE MEDIA MANAGER CHP. 1

3.

Choose whether you want to display files that match any or all of your search criteria:

91

• Choose

Match Any from the Match Any/Match All drop-down list if you want to display all media that

matches any of your keyword, tag, or advanced search criteria.

—or—

• Choose

Match All from the Match Any/Match All drop-down list if you want to display only media that

matches all of your search criteria.

4.

Select the check boxes for the advanced search criteria you want to include in your search, or clear a
check box to exclude that item.

Previewing media

You can use the transport controls in the Media Manager window to preview media files.

1.

Select files in the Search Results pane to choose the files you want to preview:

• To select a single file, click the file.
—or—

• To select multiple consecutive files, click the first file, hold the key, and then click the last item.
—or—

• To select multiple files that are not consecutive, hold the key and click each file.

2.

Start playback:

• If the

• If the

Auto Preview button ( ) is selected, playback will begin automatically.
Auto Preview button is not selected, click the Start Preview button ( ) to begin playback.

Shift

Ctrl

If you have multiple files selected, they will be played back sequentially. Each file’s icon will change to a
play icon ( ) during playback.

3.

Click the Stop Preview button ( ) to stop the preview, or turn off the preview feature by deselecting the

Auto Preview button.

If the file is offline, you’ll be prompted to locate the file or choose a replacement.

Tip:

To preview a media file in its associated media player,

right-click the file and choose

Open with Player from the

shortcut menu.

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92

Adding media to your project

After you’ve added media to your library, tagged it, and searched for specific files or related media, you’ve
probably found just the right piece of media for your current project.

You can add media to your project from the Search Results pane by performing any of the following actions:

• Dragging a file from the Search Results pane to the project timeline. The file is added wherever you drop
it.

Tip:

You can also drag files from the Search Results pane to
the Windows desktop, a folder, or to another application that
is an OLE (object linking and embedding) drop target.

• Double-clicking a media file in the Search Results pane (if the

to project

check box is selected in the Media Manager Options dialog). The file is added to the bottom of

Double-click in Search Results pane adds media

the track list.

• Right-clicking a media file in the Search Results pane and choose Add to Project from the shortcut menu.
The file is added to the bottom of the track list.

If the file is offline, you’ll be prompted to locate the file or choose a replacement. For more information, see

Resolving offline media files below.

Resolving offline media files

An offline media file is a file that is no longer available to the Media Manager. Media may be classified as
offline if you eject removable storage after adding a file to your library or change a file’s name or location.

1.

Add media to your project or preview media files. If any of the files are not accessible, the Resolve Offline
Media dialog is displayed with a listing of offline files and their status:

Icon Status Description

Offline The file listed in the Offline File column cannot be found. The status will be Offline if you did

Probable
Match

Found The file listed in the Offline File column will be replaced by the file listed in the Replacement

not search or browse for a replacement file.

The file listed in the Offline File column will be replaced by the file listed in the Replacement
File column. A status of Probable Match indicates that the Media Manager tool found a likely
replacement file when you clicked Smart Search.

File column. A status of Found indicates that you chose the file you want to use after clicking
the Browse button.

2.

Select the files you want to resolve:

• To select a single file, click the file.
—or—

• To select multiple consecutive files, click the first file, hold the key, and then click the last item.

Shift

—or—

• To select multiple files that are not consecutive, hold the key and click each file.

USING THE MEDIA MANAGER CHP. 1

Ctrl

3.

Specify how you want to resolve the selected files:

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• Click the

Smart Search button to search quickly and allow the Media Manager tool to suggest the

replacement file.

• Click the

• Click the

• Click the

Browse button to choose a specific replacement file.
Leave Offline button to leave the file offline. The file will not be added to your project.
Remove button to remove the file from the media library. The file will not be added to your

project. The original media file is not deleted.

4.

Repeat step 3 for each file in the list.

5.

Click the OK button to preview the files or add the files to your project and update the media library with
the replacement files.

Customizing the Media Manager window

Much of what you see in the Media Manager window can be customized to suit your preferences.

Automatically hiding the Search pane

Click the push pin button ( ) in the title bar of the Search pane if you want to save space in the Media
Manager window by automatically hiding the search pane:

• The push pin is displayed as a ( ) when the Search pane is anchored in the Media Manager window.

• The push pin is displayed as a ( ) when the Search pane is set to hide automatically.

When the Search pane is set to hide automatically, you can hover over the
Media Manager window to show the pane. When you move your mouse away from the Search pane, it hides
automatically.

Search tab on the left edge of the

Docking and undocking the Search pane

You can undock the Search pane from its location in the Media Manager window to float it over the ACID
window, or you can change the docking position of the pane within the Media Manager window. To undock
and move the Search pane, drag its title bar to the desired location.

Resizing columns

You can resize the columns in the Search Results pane by dragging the splitter between columns to the
desired size. To resize a column automatically, double-click a splitter.

Moving columns

To move a column in the Search Results pane to a different location, drag the column header to the desired
location. A red indicator shows where the column will be dropped.

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94

Showing or hiding columns

1.

Right-click the column headings and choose Column Chooser from the shortcut menu.

2.

Drag the columns you want to see from the Column Chooser dialog to the Search Results pane.

3.

To hide a column, right-click a column heading and choose Remove this Column from the shortcut menu.

Adding custom columns

You can add custom columns to the Search Results pane to store additional information about media files.
When you add custom columns, they are added to the current library only.

For example, if you wanted to keep track of which removable hard drive contained a media file, you could
create a custom
Advanced section of the Search pane to search using the

Drive Number column to assign any numeric rating to a media file. You could then use the

Drive Number value.

When adding media to a library, you can choose to add this information by selecting the

columns from files

1.

Right-click the column headings and choose Custom Columns from the shortcut menu.

2.

Click the Add New Column button ( ) to add a custom column. A new entry is added to the list.

3.

In the Name box, type the name you’d like to display as a column heading.

4.

Select the Typ e box and choose Tex t or Integer from the drop-down list to indicate whether you’ll store text

check box in the Add Files to Media Library dialog.

or numeric data in the column.

5.

If you want to remove a custom column, select an entry in the list and click the Delete Selected Columns
button ( ). The column and all data stored in the column is removed from the library.

6.

Click the OK button. The column is added to the media library, and the Search Results pane is scrolled to
the right to display your new column.

Setting Media Manager options

Use the Media Manager Options dialog to set options for working with the Media Manager tool.

1.

Click the Media Library Actions button ( ) and choose Options from the menu. The Media Manager
Options dialog is displayed.

2.

From the Reference library drop-down list, choose the library you want to load when you click the Switch to

Media Reference Library

about using reference libraries, see Opening a Reference Library on page 87.

button in the upper left corner of the Search Results pane. For more information

Add tags and custom

3.

In the Search results limit box, type the maximum number of media files you’d like to have returned in the
results of your searches.

Note:

Increasing the Search Results Limit setting increases
the amount of time required to search a library and can
significantly decrease performance if set excessively high.

4.

Select the Double-click in Search Results pane adds media to project check box if you want to add files to the
current project by double-clicking a file in the Search Results pane.

USING THE MEDIA MANAGER CHP. 1

5.

Select the Shut down database service on exit check box if you want to stop the database service when you
close ACID software.

Note:

Stopping the service can conserve system resources
when you aren’t using any applications that use the Media
Manager tool. However, the application will take longer to
start when the check box is selected.

6.

Set your options for adding media to a library:

a.

Select the Add tags and custom properties from files check box if you want to add tags and custom columns
saved in the media files to your library. For more information about tagging media, see Tagging media files

on page 82. For information about adding custom columns to the Search Results pane, see Adding custom

columns on page 94.

b.

Select the Use file and folder names to apply tags automatically check box if you want to automatically tag
files based on the file path.

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For example, when this check box is selected, a loop saved in the

d:\loops\drums\hi-hats\ folder would

have the tags Drums and Hi-Hats applied when it is added to the library. Some synonyms (and variant
spellings) will be resolved automatically. If you need to modify the pattern-matching, you can edit the
AutoTagPatterns.xml file, which is created in your

My Documents\Sony Media Libraries folder the first

time the application starts.

7.

Click the OK button to close the dialog.

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