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To copy an ACID section, drag it while holding down the Ctrl key. A copy will be placed in the timeline where you drop it, and all material afterward will be shifted by the duration of your section, lengthening your overall arrangement. To delete an ACID section, click on it above the beat ruler, and press the Delete key. All material after your section will be shifted earlier by the duration of your ACID section, shortening your overall arrangement. To delete all events from your ACID section without shifting subsequent audio, right-click the section above the beat ruler and select Clear Events. The events will be removed (and split if necessary), but all other audio remains unaffected. To change the color of your ACID section, right-click it above the beat ruler, and select a new color from the Color menu. ACID sections are a great way to experiment with different forms in your mashup, and they also encourage you to pay attention to your overall form, allowing you to view it quickly. It s a good idea to color all your choruses one color and all your verses another color. Color your bridge, intro, outro, and other sections yet another color. This way you can get a sense of your overall form just by looking at the colors above the beat ruler.
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Intros are typically simple and relatively sparse. Often they are instrumental, although a smattering of vocals might be okay. Intros are usually conceived of and created after the main verse/chorus structure is in place, and then tacked on to the beginning. Quite often, the intro to a mashup consists simply of the intro of one of the component songs. It s usually worth a try. One trick is to drop in a little snippet of material that will be more fully explored later in the chorus or the bridge. When the full material finally comes in, the ear is primed for it and there is already some familiarity. A great intro should grab your interest immediately. Some mashups will introduce several elements right away to let listeners know that this is a mashup, and others will simply use a single recognizable instrumental intro, startling the listener when the unexpected vocals come in from an altogether different song.
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The main characteristic of verses is that they usually have similar melodies but different words. Usually, all the verses within a mashup are from various verses of one of the component songs. Some mashup producers combine verses from different songs, which can sound good, but should be done with caution. Make sure that your chorus is very well-defined in this case, because the chorus becomes the only clue to the mashup s structure. Resist the urge to follow up a verse from one song with the verse from another song, unless there s a really good reason. Remember that you are making a single song from several, so it s necessary to leave some parts out of the mashup, even if you really like all of both songs. This can t be emphasized enough, especially when combining two full songs. If one song has a verse, a chorus, and a bridge, and
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the other song has these as well, you are dealing with six sections, which is most likely too much variety for the listener to concentrate on. Choose your favorite layered combinations, drop the rest, and don t look back! Typically, your mashup verse will contain vocals from a verse of a component song, and it will be complemented by an instrumental loop. If there are several instrumental loops with similar chord progressions, by all means use different loops for each of the verses. Often, a sparser, low-energy loop works best for a verse near the beginning, and a denser, higher-energy loop might work for a later verse. Also, don t forget to use parallel structure. If you cut up the first verse in some way, cut up the second verse in a similar way. If you silence the lead vocal and drop in a vocal from another song at a certain point in the verse, do something similar in another verse. With verses, the name of the game is to repeat yourself, but with some variations.
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