Sony Acid 7 Manual

							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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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. 
						

							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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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. 
						

							APPENDIX CGLOSSARY
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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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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.  
						

							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 
						

							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 
						

							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 
						

							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