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Sony Acid 7 Manual

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    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 
    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.
    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.  
    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 
    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.
    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 
    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. 
    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.
    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 
    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 
    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. 
    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 
    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 
    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. 
    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.
    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 
    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 
    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.  
    5.1 Surround Plug-In Pack, 157, 168, 169
    5.1 Surround, See Surround
    AC-3 Encoder, 157, 168, 169
    Add channels panning model, 103, 164
    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
    Effects, 97–102
    Mixer controls, 125
    Surround panning, 165–167
    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
    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
    Events, 59
    Tr a c k s , 4 6
    Crossfade, 70, 194
    Cursor, 41–44, 177
    Customer service/sales, 1 
    Events, 61
    In ripple mode, 65
    Tr a c k s , 4 6
    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
    Editing preferences tab, 183
    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
    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
    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 
    General preferences tab, 179
    Getting media from the Web, 38
    Glossary, 197
    Go to, 42
    Grid, 174
    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
    Bus tracks, 125
    Toolbar, 175
    Track envelopes, 101–102
    Video tracks, 153
    Windows, 171
    Inserting time, 82
    Installation, 11
    Joining events, 64
    Key changes
    Event, 69, 82
    Marker, 81
    Project, 80
    Track, 82
    Keyboard shortcuts
    Chopper window, 86
    General, 19
    Keyframes, 165–167
    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
    Creating in the Chopper, 90
    Exporting from projects, 110
    Stretching properties, 106, 107–108
    Tr a c k s , 3 8
    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 
    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
    Events, 41
    Tr a c k s , 4 5
    Multipurpose slider, 16, 46
    Mixer controls, 121
    Tracks, 16, 47
    Tracks in MIDI files, 133
    Offsetting tracks, 188
    Selecting in the Chopper, 91
    Tr a c k s , 3 8
    Online help, 12
    Media files, 36
    Projects, 34
    OPT plug-ins, 147
    Other preferences tab, 185
    Packages, Saving, 96, 124
    Painting events, 39, 40
    Panic button, 149
    Pan types, 103, 164
    Surround, 160
    Tracks, 16, 46, 97–102
    Tracks in MIDI files, 133
    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
    Audio, 181
    Editing, 183
    General, 179
    MIDI, 182
    Other, 185
    Sync, 184
    Video, 183
    VST Instruments, 182
    Preset Manager, 124
    Managing, 124
    Saving, 122
    Previewing media
    Adjusting preview volume, 51
    Chopper window, 86
    Explorer window, 35
    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
    Event, 68
    MIDI track, 132–133
    Project, 33
    Recording, 128
    Track, 105–109
    Proxy file, 201
    Publishing projects, 56 
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