Sony Acid 7 Manual
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APPENDIX CGLOSSARY 199 Compression Ratio (file size)The ratio of the size of the original noncompressed file to the compressed contents. For example, a 3:1 compression ratio means that the compressed file is one-third the size of the original. Computer IDEach computer has a unique number, similar to a license plate. Sonic Foundry creates an activation number for ACID based on that number. Since the activation number is based on the Computer ID, it is important that you have ACID installed on the computer where you will be using it. The Computer ID is automatically detected and provided to you when you install ACID. The Computer ID is used for registration purposes only. It doesnt give Sonic Foundry access to any personal information and cant be used for any purpose other than for generating a unique activation number for you to use ACID. CrossfadeMixing two pieces of audio by fading one out as the other fades in. DC OffsetDC offset occurs when hardware, such as a sound card, adds DC current to a recorded audio signal. This current results in a recorded wave that is not centered around the zero baseline. Glitches and other unexpected results can occur when sound effects are applied to files that contain DC offsets. Decibel (dB)A unit used to represent a ratio between two numbers using a logarithmic scale. For example, when comparing the numbers 14 and 7, you could say 14 is two times greater than the number 7; or you could say 14 is 6 dB greater than the number 7. Where did we pull that 6 dB from? Engineers use the equation dB = 20 x log (V1/V2) when comparing two instantaneous values. Decibels are commonly used when dealing with sound because the ear perceives loudness in a logarithmic scale. In ACID, most measurements are given in decibels. For example, if you want to double the amplitude of a sound, you apply a 6 dB gain. A sample value of 32,767 (maximum positive sample value for 16-bit sound) can be referred to as having a value of 0 dB. Likewise, a sample value of 16,384 can be referred to having a value of -6 dB. Device DriverA program that enables Windows to connect different hardware and software. For example, a sound card device driver is used by Windows software to control sound card recording and playback. Digital Rights Management (DRM)A system for delivering songs, videos, and other media over the Internet in a file format that protects copyrighted material. Current proposals include some form of certificates that validate copyright ownership and restrict unauthorized redistribution. Digital Signal Processing (DSP)A general term describing anything that alters digital data. Signal processors have existed for a very long time (tone controls, distortion boxes, wah-wah pedals) in the analog (electrical) domain. Digital Signal Processors alter the data after it has been digitized by using a combination of programming and mathematical techniques. DSP techniques are used to perform many effects such as equalization and reverb simulation. Since most DSP is performed with simple arithmetic operations (additions and multiplications), both your computers processor and specialized DSP chips can be used to perform any DSP operation. The difference is that DSP chips are optimized specifically for mathematical functions while your computers microprocessor is not. This results in a difference in processing speed. DirectXA set of Application Program Interfaces designed by Microsoft for multimedia development. A DirectX plug-in, such as the Sonic Foundry Noise Reduction DirectX Plug-In, uses the DirectX Media Streaming Services (DMSS) API. Because DMSS is a standard API, a DirectX plug-in can be used in any application that supports DMSS. DownbeatThis term is used in the Beatmapper to refer to the first beat of the first measure. Downloadable Sound (DLS)A DLS file stores a custom sound set that you can load into your soft synth, giving you another set of voices for MIDI playback.
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200 GLOSSARYAPPENDIX C Drag and DropA quick way to perform certain operations using the mouse. To drag and drop, you click and hold an item, drag it (hold the left mouse button down and move the mouse) and drop it (let go of the mouse button) at another position on the screen. Dynamic RangeThe difference between the maximum and minimum signal levels. It can refer to a musical performance (high-volume vs. low-volume signals) or to electrical equipment (peak level before distortion vs. noise floor). For example, orchestral music has a wide dynamic range, while thrash metal has a very small (always loud) range. EnvelopesEnvelopes allow you to automate the change of a certain parameter over time. In the case of volume, you can create a fade out (which requires a change over time) by adding an envelope and creating a point in the line to indicate where the fade starts. Then you pull the end point of the envelope down to -inf. Equalization (EQ)Equalizing a sound file is a process by which certain frequency bands are raised or lowered in level. EQ has various uses. The most common use for ACID users is to simply adjust the subjective timbral qualities of a sound. EventAn instance of a media file on a track. An event may play an entire media file or a portion of the file. File FormatA file format specifies the way in which data is stored. In Windows, the most common audio file format is the Microsoft WAV format. Frame RateAudio uses frame rates only for the purposes of synching to video or other audio. To synchronize with audio, a rate of 30 fps (frames per second) is typically used. To synchronize with video, 29.97 fps drop is usually used. Frequency SpectrumThe frequency spectrum of a signal refers to its range of frequencies. In audio, the frequency range is basically 20 Hz to 20,000 Hz. The frequency spectrum sometimes refers to the distribution of these frequencies. For example, bass-heavy sounds have a large frequency content in the low end (20 Hz-200 Hz) of the spectrum. Hertz (Hz)The unit of measurement for frequency or cycles per second (CPS). Insert IncrementSections of silence between selections that you can create using the Chopper and insert into the track view. Insertion PointThe insertion point (also referred to as the cursor position) is analogous to the cursor in a word processor. It is where markers or commands may be inserted depending on the operation. The insertion point appears as a vertical flashing black line and can be moved by clicking the left mouse button anywhere in the track view. LoopLoops are small audio clips that are designed to create a repeating beat or pattern. Loops are usually one to four measures long and are stored completely in RAM for playback. MarkerA marker is an anchored, accessible reference point in a file. MIDI ChannelAn informational pathway over which MIDI data can travel. Media Control Interface (MCI)A standard way for Windows programs to communicate with multimedia devices such as sound cards and CD players. If a device has an MCI device driver, it can easily be controlled by most multimedia Windows software. Media FileFiles that may be placed within the ACID project. After a media file is placed into the project, it is referred to as an event. MIDI ClockA MIDI device-specific timing reference. MIDI Clock is not absolute time like MIDI timecode (MTC); instead it is a tempo-dependent number of ticks per quarter note. MIDI clock is convenient for synchronizing devices that need to perform tempo changes mid-song. ACID supports MIDI clock out, but does not support MIDI clock in.
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APPENDIX CGLOSSARY 201 MIDI PortA MIDI port is the physical MIDI connection on a piece of MIDI hardware. This port can be a MIDI in, out or through. Your computer must have a MIDI-capable card to output MIDI timecode to an external device or to receive MIDI timecode from an external device. MIDI Timecode (MTC)MTC is an addendum to the MIDI 1.0 specification and provides a way to specify absolute time for synchronizing MIDI-capable applications. MTC is essentially a MIDI representation of SMPTE timecode. Multiple-Bit-Rate EncodingMultiple-bit-rate encoding (also known as Intelligent Streaming for the Windows Media platform and SureStream™ for the RealMedia G2 platform) allows you to create a single file that contains streams for several bit rates. A multiple-bit-rate file can accommodate users with different Internet connection speeds, or these files can automatically change to a different bit rate to compensate for network congestion without interrupting playback. To take advantage of multiple-bit-rate encoding, you must publish your media files to a Windows Media server or a RealServerG2. Musical Instrument Device Interface (MIDI)A standard language of control messages that provides for communication between any MIDI-compliant devices. Anything from synthesizers to lights to factory equipment can be controlled via MIDI. NormalizeRefers to raising the volume so that the highest level sample in the file reaches a user defined level. Use normalization to make sure you are using all of the dynamic range available to you. Nyquist FrequencyThe Nyquist Frequency (or Nyquist Rate) is one half of the sample rate and represents the highest frequency that can be recorded using the sample rate without aliasing. For example, the Nyquist Frequency of 44,100 Hz is 22,050 Hz. Any frequencies higher than 22,050 Hz produce aliasing distortion in the sample if no anti-aliasing filter is used while recording. Offline MediaA media file that cannot be located on the computer. If you choose to leave the media offline, you can continue to edit events on the track; the events point to the original location of the source media file. One-ShotOne-shots are chunks of audio that are not designed to loop, and they are streamed from the hard disk rather than stored in RAM if they are longer than three seconds. Things such as cymbal crashes and sound bites could be considered one-shots. Unlike loops, one-shots do not change pitch or tempo with the rest of a project. OPT Plug-InA plug-in that uses Yamaha’s Open Plug-in Technology (OPT) standard. OPT plug-ins provide tools for working with MIDI such as edit views, effect processors and filters, arpeggiators, and real-time panel automation. PanTo place a mono or stereo sound source perceptually between two or more speakers. Peak Data FileThe file created by ACID when a file is opened for the first time. This file stores the information regarding the graphic display of the waveform so that opening a file is almost instantaneous. This file is stored in the directory where the audio file resides and has a .sfk extension. If this file is not in the same directory as the audio file or is deleted, ACID recalculates it the next time you open the file. Proxy FileWorking with certain types of media files with particular audio compression schemes can be inefficient and slow. To compensate for this, ACID creates audio proxy files for these formats to dramatically increase speed and performance. The file is saved as a proprietary .sfap0 file, with the same name as the original media file and the same characteristics as the original audio stream. The conversion happens automatically and does not result in a loss of quality or synchronization. You can safely delete audio proxy files at any time since ACID recreates these files as needed.
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202 GLOSSARYAPPENDIX C Pulse Code Modulation (PCM)PCM is the most common representation of uncompressed audio signals. This method of coding yields the highest fidelity possible when using digital storage. PCM is the standard format for WAV and AIFF files. QuantizationThe correction of rhythms to align with selected note lengths or beats in a MIDI sequence. Real-Time Streaming Protocol (RTSP)A proposed standard for controlling broadcast of streaming media. RTSP was submitted by a body of companies including RealNetworks and Netscape. Redirector FileA metafile that provides information to a media player about streaming media files. To start a streaming media presentation, a Web page includes a link to a redirector file. Linking to a redirector file allows a file to stream; if you link to the media file, it downloads before playback. Windows Media redirector files use the .asx or .wax extension; RealMedia redirector files use the .ram, .rpm, or .smi extension. RegionA region in ACID is a section of time used to subdivide your project into segments. RenderingThe process in which ACID saves the project to a specific file format like WMA or MP3. ResampleThe act of recalculating samples in a sound file at a different rate than the file was originally recorded. If a sample is resampled at a lower rate, sample points are removed from the sound file, decreasing its size, but also decreasing its available frequency range. Resampling to a higher sample rate, ACID interpolates extra sample points in the sound file. This increases the size of the sound file, but does not increase the quality. When down-sampling, one must be aware of aliasing. SampleThe word sample is used in many different (and often confusing) ways when talking about digital sound. Here are some of the different meanings: A discrete point in time which a sound signal is divided into when digitizing. For example, an audio CD-ROM contains 44,100 samples per second. Each sample is really only a number that contains the amplitude value of a waveform measured over time. A sound that has been recorded in a digital format; used by musicians who make short recordings of musical instruments to be used for composition and performance of music or sound effects. These recordings are called samples. In this manual, we try to use sound file instead of sample whenever referring to a digital recording. The act of recording sound digitally, i.e., to sample an instrument means to digitize and store it. Sample RateThe sample rate (also referred to as the sampling rate or sampling frequency) is the number of samples per second used to store a sound. High sample rates, such as 44,100 Hz provide higher fidelity than lower sample rates, such as 11,025 Hz. However, more storage space is required when using higher sample rates. Sample SizeSee Bit Depth. Sample ValueThe sample value (also referred to as sample amplitude) is the number stored by a single sample. In 16-bit audio, these values range from -32768 to 32767. In 8-bit audio, they range from -128 to 127. The maximum allowed sample value is often referred to as 100% or 0 dB. Secure Digital Music Initiative (SDMI)The Secure Digital Music Initiative (SDMI) is a consortium of recording industry and technology companies organized to develop standards for the secure distribution of digital music. The SDMI specification was created to answer consumer demand for convenient accessibility to quality digital music, enable copyright protection for artists work, and enable technology and music companies to build successful businesses.
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APPENDIX CGLOSSARY 203 Shortcut MenuA context-sensitive menu that appears when you right-click certain areas of the screen. The functions available in the shortcut menu depend on the object being right-clicked as well as the state of the program. As with any menu, you can choose an item from the shortcut menu to perform an operation. Shortcut menus are used frequently in ACID for quick access to many commands. Signal-to-Noise RatioThe signal-to-noise ratio (SNR) is a measurement of the difference between a recorded signal and noise levels. A high SNR is always the goal. The maximum signal-to-noise ratio of digital audio is determined by the number of bits per sample. In 16-bit audio, the signal to noise ratio is 96 dB, while in 8-bit audio the ratio is 48 dB. However, in practice this SNR is never achieved, especially when using low-end electronics. Society of Motion Picture and Television Engineers (SMPTE)SMPTE timecode is used to synchronize time between devices. The timecode is formatted as hours:minutes:second:frames, where frames are fractions of a second based on the frame rate. Frame rates for SMPTE timecode are 24, 25, 29.97 and 30 frames per second. Soft SynthA soft synth is a software-based synthesizer. Downloadable Sounds (DLS) and Virtual Studio Technology Instruments (VSTi) are two types of soft synths. In ACID, you add a soft synth control in the Mixer window for each software synthesizer you want to use in a project. StreamingA method of data transfer in which a file is played while it is downloading. Streaming technologies allow Internet users to receive data as a steady, continuous stream after a brief buffering period. Without streaming, users must download files completely before playback. Te m p oTempo is the rhythmic rate of a musical composition, usually specified in beats per minute (BPM). ThresholdA threshold determines the level at which the signal processor begins acting on the signal. During normalization, levels above this threshold are attenuated (cut). Time FormatThe format by which ACID displays the time ruler and selection times. These can include: time, seconds, frames, and all standard SMPTE frame rates. Tr a c kA discrete timeline for audio data. Audio events sit on tracks and determine when a sound starts and stops. Multiple audio tracks are played together to give you a composite sound that you hear through your speakers. Track ListThe track list contains the master controls for each track. From here you can adjust the mix, select playback devices, and reorder tracks. Track ViewThe majority of the track view is made up of the space where you draw events on each track. µ-Lawµ-Law (mu-Law) is a companded compression algorithm for voice signals defined by the Geneva Recommendations (G.711). The G.711 recommendation defines µ-Law as a method of encoding 16-bit PCM signals into a non-linear 8-bit format. The algorithm is commonly used in European and Asian telecommunications. µ-Law is very similar to A-Law, however, each uses a slightly different coder and decoder. Undo/RedoThese commands allow you to change a project back to a previous state or reapply changes after you have undone them. Virtual MIDI Router (VMR)A software-only router for MIDI data between programs. ACID uses the VMR to receive MIDI timecode and send MIDI clock. No MIDI hardware or cables are required for a VMR, so routing can only be performed between programs running on the same PC. VST Instrument (VSTi)A Virtual Studio Technology instrument (VSTi) is software synthesizer plug-in technology for outputting MIDI developed by Steinberg Media Technologies AG.
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204 GLOSSARYAPPENDIX C WAVA digital audio file format developed by Microsoft and IBM. One minute of uncompressed audio requires 10 MB of storage. WaveformA waveform is the visual representation of wave-like phenomena, such as sound or light. For example, when the amplitude of sound pressure is graphed over time, pressure variations usually form a smooth waveform. Waveform DisplayEach event shows a graph of the sound data waveform. The vertical axis corresponds to the amplitude of the wave. For 16-bit sounds, the amplitude range is -32,768 to +32,767. For 8-bit sounds, the range is -128 to +127. The horizontal axis corresponds to time, with the leftmost point being the start of the waveform. In memory, the horizontal axis corresponds to the number of samples from the start of the sound file. Windows Media FormatA Microsoft file format that can handle audio and video presentations and other data such as scripts, URL flips, images and HTML tags. Advanced Streaming Format files can be saved with .asf, .wma, or .wmv extensions.
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INDEX i Index Numerics 5.1 Surround Plug-In Pack, 157, 168, 169 5.1 Surround, See Surround A AC-3 Encoder, 157, 168, 169 Add channels panning model, 103, 164 Adding Assignable effects, 113 Busses, 111 Events, 39 Media to projects, 36 MIDI tracks, 131 Soft synth controls, 116 Video, 153 Adjusting the mix, 46 ASIO drivers, 31 Assignable effects, 113–115, 120–125 Adding, 113 Adjusting levels sent from tracks, 97–102 Assigning tracks to, 114 Deleting, 115 Routing to busses, 114 Saving effect packages, 124 Audio Plug-In window, 18, 93–96 Audio preferences tab, 181 Audio properties tab, 34 Audio signal flow, 24–25 Automating Effects, 97–102 Mixer controls, 125 Surround panning, 165–167 B Balance panning model, 103, 164 Beat ruler, 17 Beatmapped tracks, 38 Stretching properties, 106, 108 Beatmapper wizard, 103 Bit depth, 34Burning CDs, 57 Bus tracks, 125 Busses, 111–113, 120–125 Adding, 111 Adjusting levels sent from tracks, 97–102, 112 Assigning tracks to, 15, 111 Deleting, 112 Panning, 162 Routing assignable effects to, 114 Routing to hardware, 112 Using effects, 121 Using the control, 120 C CD Extracting media, 37 Writing media, 57 Changing the track color, 45 Channelization in MIDI files, 133 Chopper, 18, 85–91 Grid, 85 Inserting selections from, 90 Keyboard shortcuts, 86 Markers and regions, 87 Saving selections as new files, 90 Selecting audio, 87 Snapping options, 85 Tips and tricks, 193 Using with one-shots, 91 Window, 85 Clipping, 52 Cloning loops, 90, 193 Command markers, 73 Constant power panning model, 103, 164 Copying Events, 59 Tr a c k s , 4 6 Crossfade, 70, 194 Cursor, 41–44, 177 Customer service/sales, 1
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INDEX ii Cutting Events, 61 In ripple mode, 65 Tr a c k s , 4 6 D Deleting Assignable effects, 115 Audio from a video, 154 Busses, 112 Events, 40, 61 In ripple mode, 66 Soft synth controls, 120 Tr a c k s , 4 6 Video, 153 Detuning tracks, 187 DLS sets Changing patches, 117 Routing tracks to, 120, 149 Using, 117 Docking windows, 172 Downloading media from the Web, 38 Drawing events, 39 Duplicating tracks, 45 DVD burning, 169 E Editing preferences tab, 183 Effects Assignable, 121 Automating, 97–102 Bus, 121 Managing effects, 124 Preset Manager, 124 Project, 121 Saving plug-in packages, 96, 124 Saving presets, 94, 122 Soft synth, 121 Track, 93–96 Envelopes Customizing colors, 185 Envelope tool, 100 Event, 69 Flipping, 100 Mixer controls, 125 Track, 97–102 Erasing events, 40, 190Events Changing length, 40 Changing pitch, 82 Copying, 59 Crossfading, 70 Cutting, 61, 65 Deleting, 61, 66 Editing in ripple mode, 64–67 Envelopes, 69 Erasing, 40 Fading edges for offsets, 69 Fading in and out, 70 Joining, 64 Moving, 41 Painting, 39 Pasting, 59, 66 Pitch shifting, 69 Properties, 68 Selecting, 42–44 Shifting the contents of, 68 Sliding, 68 Slipping, 68 Slip-trimming, 68 Snapping, 78 Speed, 69 Splitting, 62 Start offset, 69 Tr i m m i n g , 6 1 Vo l u m e , 6 9 Explorer window, 35–37 Exporting loops, 110 External devices Playing MIDI from, 150 Routing busses to, 112 Routing MIDI tracks to, 149 Routing video to, 156 External monitor, 156 Extracting media from CD, 37 F Faders, Mixer, 51, 120 Fading edges of events, 69 Fading in/out Events, 70 Mixer controls, 125 Tracks, 97–102 Filtering MIDI events During playback, 134 In the list editor, 141 Fitting to time, 83 Flipping envelopes, 100 Floating windows, 172 Frame numbering, 154
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INDEX iii G General preferences tab, 179 Getting media from the Web, 38 Glossary, 197 Go to, 42 Grid, 174 H Hardware Playing MIDI from, 150 Routing busses to, 112 Routing MIDI tracks to, 149 Routing surround to, 159 Routing video to, 156 Setting up for surround, 158 Help, 12–13 Hiding/showing Bus tracks, 125 Toolbar, 175 Track envelopes, 101–102 Video tracks, 153 Windows, 171 I Inserting time, 82 Installation, 11 J Joining events, 64 K Key changes Event, 69, 82 Marker, 81 Project, 80 Track, 82 Keyboard shortcuts Chopper window, 86 General, 19 Keyframes, 165–167 L LFE channel, 157, 160List editor, 140–147 Creating MIDI events, 145 Deleting MIDI events, 147 Editing MIDI events, 141 Filtering MIDI events, 141 MIDI event parameters, 142 MIDI notes and frequencies, 144 Previewing MIDI events, 140 Quantizing note events, 146 Step recording MIDI, 145 Undoing and redoing, 147 Looped playback, 50 Loops Creating in the Chopper, 90 Exporting from projects, 110 Stretching properties, 106, 107–108 Tr a c k s , 3 8 M Main window, 13 Markers, 71–75 Command markers, 73 In the Chopper, 87 Marker bar, 17 Tempo/key/time signature markers, 81 Time markers, 73 Media files Adding to projects, 36 Downloading from the Web, 38 Exporting loops from projects, 110 Extracting from CD, 37 Previewing in Chopper, 86 Previewing in Explorer, 35 Reloading, 108 Replacing, 109 Saving track properties to, 109 Meter resolution, 120 MIDI, 131–152 Adding tracks, 131 DLS sets, 149 List editor, 140–147 Notes and frequencies, 144 OPT plug-ins, 147 Panic button, 149 Piano roll editor, 134–139 Playback devices, 149 Playing from external devices, 150 Preferences, 182 Quantizing, 139, 146 Recording, 131 Rendering, 150 Resetting ports, 149 Routing to hardware, 149 Setting device preferences, 149 Signal flow, 26–27 Step recording, 145 Timecode synchronization, 151–152
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INDEX iv Track properties, 132–133 Tr a c k s , 3 9 VST instruments, 149 Mixer window, 50–52, 111–125 Automating controls, 125 Routing surround through, 159 Working with mixer controls, 120 Working with multiple controls, 125 Mixing to a single track, 109 Monitor for video editing, 156 Moving Events, 41 Tr a c k s , 4 5 Multipurpose slider, 16, 46 Muting Mixer controls, 121 Tracks, 16, 47 Tracks in MIDI files, 133 O Offsetting tracks, 188 One-shots Selecting in the Chopper, 91 Tr a c k s , 3 8 Online help, 12 Opening Media files, 36 Projects, 34 OPT plug-ins, 147 Other preferences tab, 185 P Packages, Saving, 96, 124 Painting events, 39, 40 Panic button, 149 Panning Pan types, 103, 164 Surround, 160 Tracks, 16, 46, 97–102 Tracks in MIDI files, 133 Pasting Events, 59 In ripple mode, 66 Tr a c k s , 4 6Piano roll editor, 134–139 Adding note events, 136 continuous controller information, 138 Deleting note events, 139 Editing note events, 137 Previewing MIDI, 135 Quantizing note events, 139 Selecting MIDI tracks, 136 Selecting note events, 138 Undoing and redoing, 139 Pitch shifting Events, 69, 82 MIDI tracks, 132 Projects, 80 Tracks, 82 Playing projects, 49 Plug-Ins, See Effects Preferences Audio, 181 Editing, 183 General, 179 MIDI, 182 Other, 185 Sync, 184 Video, 183 VST Instruments, 182 Preset Manager, 124 Presets Managing, 124 Saving, 122 Previewing media Adjusting preview volume, 51 Chopper window, 86 Explorer window, 35 Projects Adding media, 36 Key, 80 Opening, 34 Playing, 49 Properties, 33 Publishing to the Internet, 56 Rendering, 54 Saving, 53 Starting, 33 Te m p o , 7 9 Time signature, 80 Properties Event, 68 MIDI track, 132–133 Project, 33 Recording, 128 Track, 105–109 Proxy file, 201 Publishing projects, 56