Up and Running: A REAPER User Guide v 4.

30
by

Geoffrey Francis
Version 4.30 Oc ober !0"!

This guide will be updated regularly as the software itself is further improved and developed. Check for updates and other information at # p:$$%%%.coc&os.co'$reaper$

This document has been produced, compiled and rendered to PDF format using the wonderful OpenOffice (ri er software. For more information about OpenOffice go to # p:$$%%%.openoffice.org

arch !""# to $ctober !"%!

)o% o Use *#is Guide

&'(P'& is a sophisticated program and there is no single obvious or easy way or order to present all of the information contained in this guide. )f you need more information about any topic than appears on any particular page, try searching* The PDF edition is bookmarked, and your PDF reader includes a Find feature on its toolbar. (lso, both the PDF and printed editions feature a comprehensive inde+. ,se it*

ReaRead- &'(P'& books and training manuals printed and bound are now available from
http-..stores.lulu.com.store.php/f(cct)D0%1#2#32

REAPER 4 Un+eas#ed: Un+oc& ,our -nner REAPER.

4&'(P'& ,nleashed5 picks up where 6,p and &unning6.leaves off. This book lifts the lid off &'(P'&7s most powerful features, including custom actions, menus and toolbars, F8 chains, screensets, snapshots, templates, mouse modifiers and more. any resources are supplied, including files with sample mouse modifiers, track templates, custom toolbars and much more. )ts sample work files and do9ens of step by step tutorials will help you to understand how you can use these features in combination with each other to make &'(P'& behave for you the way you want it to. :ill it teach you everything that you could possibly ever want to know about &'(P'&/ ost definitely not. ;ut will it help you unlock the creativity inside you to help you get the very best out of this program for yourself/ ost certainly, yes*

Up and Running: A REAPER User Guide

The essential and definitive guide to recording, editing and mi+ing with &'(P'&. <ow fully updated for version 2.". )ncludes sample pro=ect files and step by step e+amples to help you learn how to use the many features of &'(P'&. )ncludes special sections on key &'(P'& features such as routing and audio channel splitting, as well as numerous e+amples of how to use and apply many of the supplied F8 plug>ins. 6,p and &unning is not only a comprehensive guide to using &'(P'&, it7s also full of an ama9ing amount of information on audio recording and engineering. ) simply cannot recommend it enough*6 > /us in Fran&e+ ?C$C@$A )nc and &'(P'& DeveloperB.

Rea0i1: 2rea&ing #e 2arriers %i # REAPER

This book does much more than =ust teach you how to use basic tools ?such as volume, panning, 'C, gates, compressors, delay, reverb etc.B to get an $@ mi+. )t also guides you thru the relationships D some simple, some comple+ D that e+ist between the dimensions of sound and the dimensions of space. )t guides you to use this knowledge to transform your $@ mi+es into great mi+es. (lthough not light on theory, it has a definite practical emphasis, with links to archives containing some 2" or so pro=ect files, with step by step e+amples to help you put your knowledge into practice. 6:ow* Ao much good stuff > from mindbending advanced techniEues to solid sensible advice. This guide should have a positive effect on =ust about anybody interested in mi+ing ?and especially those using &'(P'&B*6 > /us in Fran&e+, Cockos )nc, developer of &'(P'&.

Fore%ord and Ac&no%+edge'en s

&'(P'& isnFt =ust about software, and it isnFt =ust about making music. )tFs about a whole lot more. &'(P'& is a whole entity. )t represents the way music should be, the way the internet should be, the way computers should be, the way program development and licensing should be G. in fact, the way the world should be. )tFs about collaboration and co>operation, and it is truly awesome. )f youFve already laboured or suffered at the hands of some software companies, youFll know e+actly what )Fm talking about. )f you havenFt been there, then, believe me, you donFt want to. This ,ser Huide could not have been produced without the help of many of the fine people in the &'(P'& community. )f ) try to mention everybody, )Fll be sure to miss some out, so )Fll =ust mention those whose assistance has been absolutely invaluable-

0a+co+' /acobson for his efforts in getting together the first &'(P'& manual. Ar Evans for his technical advice and constructive input. 0ario 2ianc#i ?aka 0abianB for his invaluable help with document formatting and layout and for his many constructive suggestions and ideas. (lso, a special 4thank you5 for comprehensively checking the document. 3i'on 0u++ings for his help and suggestions and the patient hours spent on the tedious =ob of proof> reading. 0ara# 0ag for lending me her eyes, her ears and her brains* 2evan Fo%&e ?aka 2evosssB for his advice and assistance with custom actions and macros. 3usan G for her assistance and advice, especially ?but not e+clusivelyB on /ason 2rian 0erri++ for, amongst other things, review and comments. Pipe+ine Audio for the original video tutorials. (#i e *ie for awesome graphics. 4ena&ios, /effos and 3(3 for their e+tension sets. (nd, of course G /us in, 5#ris op#e and 3c#%a, for bringing us &'(P'& Ao welcome to &'(P'&* This ,ser Huide is intended to get you up and running in &'(P'&, and to help you understand better how the program works, so that ultimately you will better be able to help yourself. )f you are new to the world of digital audio, youFll find that there is more than enough information in here to get you 4up and running5. IouFll probably find that some sections contain information that youFll find difficult to understand and which you might not need at first. Iou can =ust skip over those sections and come back to them when youFre ready. )f, like me, you have come to &'(P'& with e+perience of other D(: software, youFll find that it pays to go over even the most basic sections, to help you understand how &'(P'& is designed, and how it slots together. IouFll find yourself asking, 4:hy canFt they all be like this/5 Iou should also find plenty more to interest you. )t is not intended to be ?and nor will it ever beB a %""J reference manual covering every single aspect and detail of &'(P'&. )Fve tried to approach the topics in what seems a fairly sensible order, introducing items pretty much on a 4need to know5 basis. )n doing so, )Fve been as careful as ) can be to ensure its contents are clear and accurate, but cannot accept any responsibility for any errors or problems you may encounter in applying it to your work. Finally, )Fd like to make it clear that ?apart from the e+tract from the C$C@$A :eb AiteB any views or opinions e+pressed here or anywhere else are entirely my own, and have not been endorsed by C$C@$A software or any other person or body associated with &'(P'& ) hope that you get as much from &'(P'& as ) have, and that this ,ser Huide is more than a little help to you along the way. > Heoffrey Francis, $ctober !"%! )D) matters.

REAPER (eb Resources

The &'(P'& pro=ect is a live, dynamic and ongoing one. ;e sure to check these web sites oftenhttp-..www.cockos.com.reaper. http-..www.cockos.com.reaper.download.php http-..www.cockos.com.reaper.about.php http-..www.cockos.com.forum.forumdisplay.php/f0!" http-..www.cockos.com.wiki. The &'(P'& Kome Page The &'(P'& Downloads Page &'(P'& Features summary The &'(P'& Forums The &'(P'& :iki

3a'p+e Pro6ec Fi+es

These are available for download from http-..www.cockos.com.wiki.inde+.php.&'(P'&L,serLHuide <ote that the links are case sensitive. The media files are in . P1 format. Aome of the e+amples outlined in this book reEuire recording further tracks in P1 format. )n order to be able to do this, you will need to have an P1 encoder installed in your &'(P'& program directory. The encoder file can be downloaded from a number of locations, including http-..www.free>codecs.com.download.MameL'ncoder.htm ;e sure to select the correct file for your system. For e+ample, for 1! bit :indows this will be +a'e7enc.d++. (fter downloading the file, simply copy it into your &'(P'& program folder. Atart &'(P'&, then open the sample pro=ect file and play it. )f you hear no sound, you should check the -O setting for your aster Track and make sure that output is correctly directed to your sound device.

(#a 8s 9e% -n *#is Edi ion :.

The last ma=or update of this ,ser Huide was version 2."". The last interim update before this one was version 2.!N. This version of the ,ser Huide is 2.1". )t fi+es a few minor errors, omissions and typos and has more e+planations in some places. Iou will also find several changes.new features. The main feature changes and additions and other edits since the last update ?including previously undocumented materialB are listed below-

5#anges in 4.30; Oc ober !0"!

Manguage packs section updated. Heneral preferences section updated. Oolume and pan values may now be entered in track settings dialog. Pro=ect preferences section updated. Hrouping- double>click on volume, pan or width value displayed in track panel of any grouped track to restore its default value. <ew section, Crossfade 'ditor. Creating and using multiple pro=ect versions. <ew option under Pro=ect preferences to enable multiple pro=ect versions. <ew (ppearance Fades.Crossfades preferences.

(#ere ...
Page !3 Page 1% Page 1P Page P1 Page Q# Page %!# to %!Q Page !"N Page 12Q Page 1PQ

Changes to this ,ser Huide in the various editions published since 2."" and up to this one are summari9ed in the following document- # p:$$%%%.coc&os.co'$<g+a=fo+&$userguidec#ange+og.pdf -'por an 9o e: &'(P'&7s capabilities range far and wide- there are some aspects that every user will need to know, others that most users will need to know and still others that relatively few users will need to know. Thus, more emphasis is placed on those sub=ects that are likely to be most important to the less e+perienced user. )f you need more information on any topic, one good option is to consult the &'(P'& :iki%%%.coc&os.co'$%i&i$inde1.p#p. (nother is to use the &'(P'& forums- # p:$$foru'.coc&os.co'. 9o e: :ith &'(P'&7s rapid rate of development, this edition may not be %""J up to date. For a full list of new and recent features, choose the )e+p; 5#ange+og command from the &'(P'& menu. To check for the latest versions of both &'(P'& and this ,ser Huide, go to # p:$$%%%.coc&os.co'$reaper$do%n+oad.p#p

5on en s
" 3e ing Up and Ge ing 3 ar ed............................................................................">
%.% Downloading &'(P'&.............................................................................................................. %# %.! )nstalling &'(P'& on an $A 8 ac........................................................................................... %# %.1 )nstalling &'(P'& on a :indows PC......................................................................................... %# %.2 The )nstall $ptions ?:indows onlyB.......................................................................................... %3 %.P &'(P'& Aoftware ,pdates....................................................................................................... %3 %.N 'nabling P1 &ecording.......................................................................................................... %Q %.# Atarting &'(P'&..................................................................................................................... %Q %.3 &'(P'& Atartup Tips............................................................................................................... %Q %.Q &'(P'& Aelections, Controls and Commands............................................................................. %Q %.%" The &'(P'& Acreen.............................................................................................................. !" %.%% The Track and Track Controls................................................................................................. !% %.%! Aetting ,p For (udio ............................................................................................................ !% %.%!.% Aetting ,p For (udio ?PC :indowsB.......................................................................................!! %.%!.! Aetting ,p For (udio ? ac $A 8B...........................................................................................!! %.%1 )nput (liasing....................................................................................................................... !1 %.%2 $utput (liasing..................................................................................................................... !1 %.%P Aetting ,p For )D).............................................................................................................. !2 %.%N 'nabling OAT Plug>ins............................................................................................................ !P %.%# &'(P'&Fs )nstalled Folders and File Mocation............................................................................ !N %.%3 Mocali9ation and Manguage Packs............................................................................................ !3 %.%Q ;acking ,p Aettings.............................................................................................................. !3 %.!" &unning &'(P'& on a Flash Drive.......................................................................................... !3 %.!% &'(P'& Atart enu $ptions ?:indows onlyB...........................................................................!Q %.!! &'(P'& File Types................................................................................................................. 1" %.!1 Pops and Clicks..................................................................................................................... 1" %.!2 ,ninstalling &'(P'&.............................................................................................................. 1"

! REAPER Pro6ec 2asics..........................................................................................3"

!.% Aection $verview.................................................................................................................... 1% !.! $pening an '+isting Pro=ect..................................................................................................... 1% !.1 Pro=ect Aettings...................................................................................................................... 1! !.2 Directing (udio $utput............................................................................................................ 11 !.P The Transport ;ar................................................................................................................... 12 !.N The ;ig Clock......................................................................................................................... 1P !.# Track Controls......................................................................................................................... 1P !.3 Pan Maw and Pan ode........................................................................................................... 1N !.Q <avigation and Rooming.......................................................................................................... 1N !.%" ,sing the <avigator............................................................................................................... 13 !.%% Track F8 ;asics..................................................................................................................... 13 !.%! ,sing the Aupplied F8 Presets................................................................................................ 1Q !.%1 Controlling Track F8............................................................................................................... 2" !.%2 Creating a Default F8 Chain................................................................................................... 2% !.%P ,sing an F8 ;us.................................................................................................................... 2! !.%N onitoring F8 Performance.................................................................................................... 22 !.%# Aelections and Moops............................................................................................................. 2P !.%3 anaging Time and Moop Aelections....................................................................................... 2N !.%Q Time and Moop Aelections and the Transport ;ar......................................................................2# !.!" <avigating by Sumping.......................................................................................................... 2# !.!% )tem <ames, ;uttons and )cons............................................................................................. 23 !.!! &'(P'& &outing 'ssentials..................................................................................................... 23 !.!1 The &outing atri+................................................................................................................ 2Q

Up and Running: A REAPER User Guide v 4.30

!.!2 !.!P !.!N !.!# !.!3 !.!Q Docking and Floating............................................................................................................. P" The ,ndo Kistory :indow...................................................................................................... P% @eeping a :indow on Top...................................................................................................... P% ultiple Pro=ect Tabs............................................................................................................. P! anaging the Play Cursor...................................................................................................... P! @eyboard Ahortcut and ouse Defaults...................................................................................P!

3 Recording %i # REAPER........................................................................................?3
1.% Creating a <ew Pro=ect............................................................................................................ P1 1.! Aetting edia Pro=ect $ptions.................................................................................................. P2 1.1 Aaving the Pro=ect File............................................................................................................. P2 1.2 Creating and <aming Tracks.................................................................................................... PP 1.P To Prepare and &ecord $ne Track............................................................................................. PP 1.N To Prepare and &ecord ultiple Tracks...................................................................................... PN 1.# (uto (rming Tracks................................................................................................................. P# 1.3 ,sing the etronome.............................................................................................................. P# 1.Q &ecording Atereo Tracks.......................................................................................................... P3 1.%" ulti>Channel &ecording........................................................................................................ P3 1.%% Track Templates.................................................................................................................... PQ 1.%! )mporting an '+isting Pro=ect................................................................................................. PQ 1.%1 Pro=ect Templates.................................................................................................................. PQ 1.%2 Mayered &ecording................................................................................................................. N" 1.%P $verdubbing and Punch &ecording......................................................................................... N% 1.%N <on>Destructive Punch &ecording........................................................................................... N% 1.%# Destructive Punch &ecording.................................................................................................. N! 1.%3 Fades and Crossfades............................................................................................................ N! 1.%Q &ecording ultiple Takes........................................................................................................ N! 1.!" Ahowing Takes in Manes......................................................................................................... N1 1.!% ,sing Color Coded Takes........................................................................................................ N1 1.!! :orking :ith ultiple Takes.................................................................................................. N2 1.!1 $verlapping )tems................................................................................................................. N2 1.!2 &ecording ultiple (dditional )tems........................................................................................ NP 1.!P &ecording with 'mpty 'vents................................................................................................. NP 1.!N &ecording )D)..................................................................................................................... NN 1.!# $ther )D) &ecording odes................................................................................................. N3 1.!3 Mooped $verdubbing and Mooped Time Aelection &ecording......................................................N3 1.!Q &ecording :ith a Oirtual )nstrument....................................................................................... NQ 1.1" ,sing icrosoft HA :avetable A: Aynth.................................................................................NQ 1.1% )mporting edia- the edia '+plorer...................................................................................... #" 1.1! Creating and ,sing a edia '+plorer Database........................................................................#! 1.11 Aetting a Default edia '+plorer (ction................................................................................... #1 1.12 )mporting ultiple (udio Files................................................................................................ #1 1.1P )mporting Part of an (udio File .............................................................................................. #1 1.1N )mporting )D) Files............................................................................................................. #2 1.1# )mporting edia from (udio CD............................................................................................. #2 1.13 &ecording with (udio F8 Plug>ins............................................................................................ #2 1.1Q &ecording a TrackFs $utput..................................................................................................... #P 1.2" &ecording F8 $n Their $wn................................................................................................... #P 1.2% &ecording with '+ternal Kardware F8..................................................................................... #N 1.2! Preference Aettings for &ecording........................................................................................... #N 1.21 Track Preferences for &ecording............................................................................................. ## 1.22 &ecording with i+ed Formats................................................................................................ #3 1.2P &'(P'& (udio &ecording Checklist.......................................................................................... #3 1.2N &ecording an )nternet (udio Atream....................................................................................... #Q

1.2# Converting (udio

edia )tem Format...................................................................................... 3"

4 Pro6ec Arrange'en 2asics.................................................................................@"

2.% anaging Tracks..................................................................................................................... 3% 2.! Track Control odifiers............................................................................................................ 3! 2.1 Aolo )n Front.......................................................................................................................... 31 2.2 Aearching the Preferences Aettings........................................................................................... 31 2.P Track Colors............................................................................................................................ 32 2.N Color Themes......................................................................................................................... 32 2.# Track )cons............................................................................................................................. 3P 2.3 Keadphone onitoring............................................................................................................ 3P 2.Q Creating a Keadphone i+....................................................................................................... 3N 2.%" Displaying Hrid Mines............................................................................................................. 3# 2.%% ,nderstanding Aends, ;uses, Aubmi+es and Folders.................................................................33 2.%! Track Folder 'ssentials........................................................................................................... 3Q 2.%!.% Drag and Drop Folder anagement........................................................................................Q" 2.%!.! <ested Folders.....................................................................................................................Q% 2.%1 Track and Track Parameter Hrouping....................................................................................... Q! 2.%1.% ;asic Track Hrouping............................................................................................................Q! 2.%1.! Track Hrouping atri+ ;asic Controls......................................................................................Q2 2.%1.1 Track Hrouping )ndicators.....................................................................................................Q2 2.%1.2 aster and Alave Hroup &elationships....................................................................................Q2 2.%1.P Track Hrouping :indow........................................................................................................QP 2.%1.N Track Hrouping :indow ;asic Controls...................................................................................Q# 2.%2 O, eters on ultichannel Tracks........................................................................................... Q# 2.%P (udio Acrubbing.................................................................................................................... Q3

? 0anaging *rac& and - e' F4................................................................................AA

P.% Hrouping F8........................................................................................................................... QQ P.! Filtering Track F8.................................................................................................................... %"" P.1 Ahowing OAT Folders............................................................................................................... %"% P.2 Copying Track F8.................................................................................................................... %"% P.P F8 Cuick Display..................................................................................................................... %"% P.N oving Track F8...................................................................................................................... %"% P.# Changing the Default F8 <ame................................................................................................. %"! P.3 &enaming Track F8 )nstances................................................................................................... %"! P.Q ,sing Default F8 Parameter Aettings......................................................................................... %"! P.%" Per )tem F8.......................................................................................................................... %"! P.%% ,sing )tem F8 with ultiple Takes.......................................................................................... %"1 P.%! $ptimi9ing F8 Performance.................................................................................................... %"2 P.%1 F8 <otes and Comments........................................................................................................ %"2 P.%2 :et.Dry i+ and ;ypass........................................................................................................ %"2 P.%P Plug>in Delay Compensation................................................................................................... %"P P.%N $pening a File in &ecovery ode............................................................................................ %"P P.%# Atem &endering.................................................................................................................... %"P P.%3 Atem &endering a Hroup of Tracks to a Aingle Track.................................................................%"N P.%Q Free9ing and ,nfree9ing Tracks.............................................................................................. %"N P.!" (udio Aignal Flow Chart- Tracks and Folders............................................................................ %"3 P.!% (udio Aignal Flow Chart- aster Track.................................................................................... %"Q P.!! anaging F8 Chains and F8 Presets........................................................................................ %"Q P.!1 Plug>ins Aettings................................................................................................................... %"Q P.!2 Track Templates &evisited...................................................................................................... %"Q P.!P &ea'ffects ,ser Huide Aupplement......................................................................................... %"Q

B Edi ing *rac&s and - e's...................................................................................."""

N.% ,sing an '+ternal 'ditor.......................................................................................................... %%%

Up and Running: A REAPER User Guide v 4.30

N.! 'diting )tems in &'(P'&.......................................................................................................... %%% N.1 &'(P'&7s Amart 'diting........................................................................................................... %%! N.2 Atandard :indows 'diting....................................................................................................... %%1 N.P 'diting ;ehavior Preferences.................................................................................................... %%P N.N Aeparating Moop Aelection From Time Aelection.........................................................................%%P N.# Anapping with Combined Anap.Hrid Aettings............................................................................. %%N N.3 Anapping with Aeparate Anap and Hrid Aettings......................................................................... %%N N.Q Trim ;ehind :hen 'diting........................................................................................................ %%# N.%" The <udge.Aet )tems :indow................................................................................................ %%3 N.%% edia )tem Properties........................................................................................................... %%Q N.%! edia )tem )cons.................................................................................................................. %!" N.%1 )tem <otes........................................................................................................................... %!" N.%2 Coloring )ndividual )tems....................................................................................................... %!% N.%P (d=usting )tem Oolume.......................................................................................................... %!% N.%P.% The )tem Oolume @nob.)tem Oolume Kandle...........................................................................%!% N.%P.! The Oolume Fader................................................................................................................%!! N.%P.1 <ormali9ing )tems................................................................................................................%!! N.%N Changing )tem Channel ode................................................................................................ %!! N.%# Take Aource Properties......................................................................................................... %!1 N.%3 &'(P'& 'diting and (uditioning '+ample................................................................................ %!1 N.%Q 'diting ultiple edia )tems.................................................................................................. %!P N.!" Alip 'diting........................................................................................................................... %!N N.!% (d=usting Fades..................................................................................................................... %!N N.!! Crossfades and the Crossfade 'ditor....................................................................................... %!# N.!1 Crop Pro=ect to Aelection........................................................................................................ %!Q N.!2 Hrouping )tems..................................................................................................................... %1" N.!P Atoring and &ecalling )tem Hroups.......................................................................................... %1% N.!N Hlue Aelected )tems.............................................................................................................. %1% N.!# Creating and Copying )tems in Pencil ode.............................................................................%1! N.!3 &ipple 'diting....................................................................................................................... %11 N.!Q Trim to Aelected (rea............................................................................................................ %12 N.1" Free )tem Positioning............................................................................................................. %12 N.1% ouse odifiers.................................................................................................................... %1P N.1! Dynamic Aplitting > &emove Ailent Passages............................................................................%1# N.11 A:A '+tensions.................................................................................................................... %13

> Arranging; 5o'ping and Edi ing *a&es.............................................................."3A

#.% #.! #.1 #.2 #.P #.N #.# '+ploding Takes to ultiple Tracks............................................................................................ %1Q Crossfades with Takes.............................................................................................................. %2" '+ploding Takes in Place.......................................................................................................... %2" Play (ll Takes.......................................................................................................................... %2" 'diting and Comping ultiple Takes.......................................................................................... %2% ore Take Commands and (ctions............................................................................................ %22 anaging Comps with the Pro=ect ;ay...................................................................................... %2P

@ Coops; 0ar&ers and Regions..............................................................................."4>

3.% Creating Moops........................................................................................................................ %2# 3.! Creating and <avigating with arkers....................................................................................... %23 3.1 Time Aelection Atart.'nd arkers............................................................................................. %2Q 3.2 Anapping to arkers............................................................................................................... %2Q 3.P &emoving arkers.................................................................................................................. %P" 3.N arker (ctions........................................................................................................................ %P" 3.# Creating and ,sing &egions..................................................................................................... %P% 3.3 The &egion anager............................................................................................................... %P! 3.Q Pro=ect ;uilding with &egions................................................................................................... %P1

3.%" Changing the Pro=ect Timebase.............................................................................................. %P1 3.%% arkers and edia Cues........................................................................................................ %P1 3.%! Tempo ;ased usic Production.............................................................................................. %P2 3.%!.% Time ;ased usic ;asics.......................................................................................................%P2 3.%1 Pro=ect Aettings..................................................................................................................... %PP 3.%1.% (udio edia )tem Properties.................................................................................................%PN 3.%1.! Creating a Moop from a Time Aelection...................................................................................%PN 3.%1.1 Creating a Moop from Transients............................................................................................%PN 3.%1.2 Transient Detection Aettings..................................................................................................%P# 3.%1.P ;eat Correction....................................................................................................................%P# 3.%1.N Cuanti9ing )tems..................................................................................................................%P3 3.%2 Dynamic Aplitting.................................................................................................................. %P3 3.%2.% Aplitting a edia )tem into Aamples.......................................................................................%PQ 3.%2.! Changing the Pro=ect Tempo..................................................................................................%N% 3.%2.1 Creating a Chromatic )D) )tem............................................................................................%N% 3.%2.2 Aaving and ,sing Aamples....................................................................................................%N% 3.%P &'8 File Aupport................................................................................................................... %N!

A Pi c# and *i'e 0anipu+a ion.............................................................................."B3

Q.% Changing Pitch for )ndividual edia )tems................................................................................. %N1 Q.! ,sing &eaPitch........................................................................................................................ %N2 Q.1 ,sing &eaPitch with ultiple Tracks.......................................................................................... %NP Q.2 )nstrument Tuning with &eaTune.............................................................................................. %NP Q.P Pitch Correction with &eaTune.................................................................................................. %NN Q.N Time Atretching...................................................................................................................... %N# Q.# Changing the Pro=ect Playrate.................................................................................................. %N3 Q.3 ,sing Time Aignature.Tempo Change arkers........................................................................... %NQ

"0 *#e REAPER 0i1er and 0as er.........................................................................">"

%".% )ntroduction.......................................................................................................................... %#% %".! i+er Commands.................................................................................................................. %#% %".1 i+er Mayouts and Acreensets................................................................................................ %#% %".2 i+er enu Commands and $ptions....................................................................................... %#! %".P Ahowing and Kiding Types of i+er Tracks..............................................................................%#1 %".N :orking with F8 in the i+er.................................................................................................. %#1 %".# :orking with Aends in the i+er............................................................................................. %#N %".3 Ahowing Track )cons in the i+er............................................................................................ %## %".Q anaging the i+er............................................................................................................... %## %".%" Track Control enus............................................................................................................ %#Q %".%% )ntroducing :indows Acreen Aets......................................................................................... %3" %".%! i+er (ppearance Preferences.............................................................................................. %3% %".%1 Atereo and Dual Panning...................................................................................................... %3! %".%2 aster Track $ptions and Aettings........................................................................................ %32 %".%P aster Kardware $utputs.................................................................................................... %32 %".%N aster Track Channels......................................................................................................... %3P %".%# (voiding Channel Meakage.................................................................................................... %3N %".%3 &eset O, eter Peaks.......................................................................................................... %3N

"" Pro6ec 0anage'en Fea ures........................................................................."@>

%%.% )ntroduction.......................................................................................................................... %3# %%.! Aetting the Pro=ect Atart Time................................................................................................ %3# %%.1 Mocking edia )tems.............................................................................................................. %33 %%.2 Mocking Track Controls........................................................................................................... %33 %%.P Pro=ect Mock Aettings............................................................................................................. %3Q %%.N Customi9ing Colors and Fonts................................................................................................. %Q" %%.# The Pro=ect edia.F8 ;ay...................................................................................................... %Q%

Up and Running: A REAPER User Guide v 4.30

%%.3 The Track anager................................................................................................................ %QP %%.Q Track Oiew Acreen Aets.......................................................................................................... %Q# %%.%" :indows Acreensets............................................................................................................ %QQ %%.%% (uto Aaving Acreen Aets...................................................................................................... !"" %%.%! )tem Aelection Aets.............................................................................................................. !"" %%.%1 Track, i+er, Transport and 'nvelope Mayouts.......................................................................!"% %%.%2 Further Pro=ect F8 anagement............................................................................................ !"! %%.%P Track Control Panel and enu ;ar Kelp................................................................................. !"2 %%.%N ,sing ultiple Dockers......................................................................................................... !"2 %%.%# ultiple Pro=ect File Oersions................................................................................................ !"N

"! 0anipu+a ing and Edi ing 0-D- - e's..............................................................!0>

%!.% )ntroduction.......................................................................................................................... !"# %!.! onitoring an '+ternal Aynthesi9er......................................................................................... !"# %!.1 ,sing Track Controls with )D).............................................................................................. !"# %!.2 Controlling )D) Data Aends.................................................................................................. !"# %!.P (ccessing the )D) 'ditor...................................................................................................... !"3 %!.N The )D) 'ditor :indow........................................................................................................ !"3 %!.# Control Change essages...................................................................................................... !%% %!.3 Control Channel ;asics.......................................................................................................... !%! %!.Q :orking with )D) 'ditor Manes............................................................................................. !%! %!.Q.% Ayse+ 'vents........................................................................................................................!%! %!.Q.! Te+t 'vents.......................................................................................................................... !%1 %!.Q.1 ;ank Program.Aelect............................................................................................................!%1 %!.%" ,sing )D) CC Manes- Tips and Tricks................................................................................... !%1 %!.%".% Heneral CC Mane 'diting TechniEues.....................................................................................!%1 %!.%".! &ight Click arEuee Aelection..............................................................................................!%2 %!.%".1 &esi9ing CC Mane Keight......................................................................................................!%2 %!.%".2 )ntelligent CC Mane Dropdown Mist........................................................................................!%P %!.%% :orking with ultiple )tems................................................................................................. !%P %!.%! <avigating the )D) 'ditor ain :indow..............................................................................!%N %!.%1 Moop.Time Aelections and Amart 'diting................................................................................!%N %!.%2 ;asic <ote Aelection and anipulation..................................................................................!%# %!.%P The )D) 'ditor enus........................................................................................................ !%# %!.%N <ote Creating and 'diting.................................................................................................... !!% %!.%# ,sing the @eyboard............................................................................................................. !!1 %!.%3 Heneral )D) Program Patches............................................................................................. !!2 %!.%Q )D) Preview Acrub............................................................................................................. !!2 %!.!" )D) 'ditor odes and Oiews............................................................................................... !!2 %!.!".% <ote odes.......................................................................................................................!!2 %!.!".! <ote Atyles........................................................................................................................!!N %!.!% Cuanti9ing )D) Data.......................................................................................................... !!N %!.!! )nput Cuanti9ation............................................................................................................... !!3 %!.!1 Kumani9e <otes.................................................................................................................. !!3 %!.!2 F1 > The Panic ;utton.......................................................................................................... !!3 %!.!P ,sing the )D) 'ditor- an '+ercise........................................................................................ !!Q %!.!N )D) 'ditor ouse odifiers................................................................................................ !1% %!.!# )D) 'ditor (ctions............................................................................................................. !1! %!.!3 )n>Mine )D) 'diting............................................................................................................ !1! %!.!Q Copying )D) )tems in (rrange Oiew..................................................................................... !11 %!.1" Soining )D) )tems.............................................................................................................. !12 %!.1% '+porting Pro=ect )D)......................................................................................................... !1P %!.1! )D) ;uses, )D) &outing and &e:ire.................................................................................. !1P %!.11 Aome )D) Plug>ins............................................................................................................. !1N %!.12 )D) Controlled Pitch Ahift with &eaOoice.............................................................................. !1#

%"

%!.1P )D) Preferences Aettings.................................................................................................... !13 %!.1N &eaControl )D)................................................................................................................... !1Q %!.1# SA- )8. )D)L&outer............................................................................................................. !1Q %!.13 The Acale Finder................................................................................................................. !2"

"3 5us o'i=a ion: Ac ions; 0ouse 0odifiers; 0enus and *oo+bars......................!4"
%1.% )ntroduction.......................................................................................................................... !2% %1.! &'(P'& (ctions 'ssentials..................................................................................................... !2% %1.1 The (ction Mist 'ditor 'nvironment......................................................................................... !2! %1.2 Creating a <ew @eyboard Ahortcut......................................................................................... !2P %1.P &emoving an '+isting Ahortcut............................................................................................... !2N %1.N Changing an '+isting @ey (ssignment..................................................................................... !2N %1.# '+amples of Possible Aimple @eystroke (ssignments.................................................................!2# %1.3 @eyboard Ahortcuts for &ecording........................................................................................... !2# %1.Q @eyboard Ahortcuts for the )D) 'ditor................................................................................... !23 %1.%" @eyboard Ahortcuts for the edia '+plorer............................................................................!23 %1.%% (ssigning (ctions to the ousewheel.................................................................................... !2Q %1.%! '+porting and )mporting @eyboard Ahortcuts.........................................................................!2Q %1.%1 Creating Custom (ction acros............................................................................................ !2Q %1.%2 )D) 'ditor Custom acros.................................................................................................. !P% %1.%P )mporting Acripts................................................................................................................. !P% %1.%N ,sing a Control Device with &'(P'&..................................................................................... !P! %1.%# eta (ctions....................................................................................................................... !P2 %1.%3 ouse odifiers.................................................................................................................. !PP %1.%Q Aaving and &estoring ouse odifier Aettings.......................................................................!P# %1.!" )D) 'ditor ouse odifiers................................................................................................ !P# %1.!% Customi9ing the &'(P'& enus........................................................................................... !P3 %1.!! Customi9ing the &'(P'& Toolbars......................................................................................... !N" %1.!1 Creating (dditional Custom Toolbars..................................................................................... !N1 %1.!2 Creating Amart Tools........................................................................................................... !N2

"4 REAPER P+ugEins in Ac ion................................................................................!B?

%2.% :hat (re Plug>ins/................................................................................................................ !NP %2.! The Three Maws of Plug>ins.................................................................................................... !NP %2.1 The Five Types of Plug>in....................................................................................................... !NP %2.2 (d=usting Plug>in Parameter Controls...................................................................................... !NN %2.P Aound Ahaping 'ffects- &ea'C............................................................................................... !NN %2.N Time ;ased 'ffects- Delay...................................................................................................... !N# %2.# Oolume Changing Plug>ins- the Mimiter.................................................................................... !N3 %2.3 (nalytical Plug>ins- the HF8(naly9er....................................................................................... !NQ %2.Q ,sing F8 Presets................................................................................................................... !NQ %2.%" Time ;ased 'ffects- &eaOerb................................................................................................ !#" %2.%% Oolume Control with Compression- &eaComp.........................................................................!#! %2.%! M$A'&Fs Transients Plug>ins.................................................................................................. !#1 %2.%1 Oolume Control with a <oise Hate......................................................................................... !#1 %2.%2 Astillwell Chorus and Delay 'ffects........................................................................................ !#2 %2.%P <oise &eduction with &eaFir................................................................................................. !#P %2.%N ultiband Compression with &ea8Comp................................................................................ !#N %2.%# M$A'&Fs TimeDifference Pan................................................................................................. !#3 %2.%3 M$A'&Fs '+citer................................................................................................................... !#3 %2.%Q AATillwell7s Kuge;ooty......................................................................................................... !#3 %2.!" Aome ,nusual SA Plug>ins.................................................................................................... !#3 %2.!".% ,tility.bufsave....................................................................................................................!#3 %2.!".! Astillwell.thunderkick..........................................................................................................!#Q %2.!".1 &emaincalmLorg.tonegate...................................................................................................!#Q

%%

Up and Running: A REAPER User Guide v 4.30

%2.!% %2.!! %2.!1 %2.!2 %2.!P %2.!N Aome Huitar F8 Plug>ins....................................................................................................... !3" Aome $ther &'(P'& SA Plug>ins........................................................................................... !3" Third Party Plug>in Presets .................................................................................................. !31 Mosing the Hraphic ,ser )nterface ?H,)B................................................................................ !32 Apecifying OAT Plug>in &un ode.......................................................................................... !32 C$C@$A &eaper 'ffects Huide.............................................................................................. !32

"? 0ore REAPER Rou ing E1a'p+es......................................................................!@?

%P.% Controlled ;leed.................................................................................................................... !3P %P.! Aplitting Channels................................................................................................................. !3N %P.1 Full and Fat Oocals with &eaDelay........................................................................................... !33 %P.2 &'(P'& Aend Types.............................................................................................................. !3Q %P.P Channel Aplitting and Pitch Ahifting......................................................................................... !Q" %P.N (udio Ducking....................................................................................................................... !Q% %P.# Double Ducking..................................................................................................................... !Q1 %P.3 &eaAamplomatic and &eaDrums............................................................................................. !Q2 %P.Q ulti $utput OATi Plug>ins..................................................................................................... !QN %P.%" Parallel F8 Processing with the Channel i+ers....................................................................... !Q# %P.%% ore Parallel F8 Processing.................................................................................................. !QQ %P.%! $ther Channel &outing Plug>ins ?$verviewB...........................................................................!QQ %P.%1 &'(P'&Fs &outing )nterface.................................................................................................. 1"" %P.%2 ultichannel Track O, eters............................................................................................... 1"% %P.%P Aurround Panning with &eaAurround..................................................................................... 1"% %P.%N &outing to.from $ther (pplications with &e:ire.....................................................................1"1 %P.%# )ntroducing &ea&oute.......................................................................................................... 1"2

"B Au o'a ion %i # Enve+opes..............................................................................30?

%N.% ,nderstanding (utomation..................................................................................................... 1"P %N.! (utomation 'nvelope ethods............................................................................................... 1"P %N.1 The Track 'nvelopes :indow................................................................................................. 1"N %N.2 (vailable Track and Aend 'nvelopes........................................................................................ 1"N %N.P :riting (utomation............................................................................................................... 1"# %N.N 'nvelope Points $ptions......................................................................................................... 1"3 %N.# :riting ute (utomation....................................................................................................... 1"Q %N.3 (utomation odes................................................................................................................ 1"Q %N.Q Hlobal (utomation $verride................................................................................................... 1%" %N.%" The 'nvelope Panel Controls................................................................................................ 1%" %N.%% anually (d=usting 'nvelopes............................................................................................... 1%% %N.%! ,sing the ouse with 'nvelopes........................................................................................... 1%! %N.%1 'nvelope 'dit ouse odifiers.............................................................................................. 1%! %N.%2 anaging (utomation 'nvelope Display................................................................................. 1%1 %N.%P The 'nvelope Panel Controls................................................................................................ 1%2 %N.%N oving and Copying 'nvelopes with )tems............................................................................1%P %N.%# anaging and anipulating 'nvelopes.................................................................................. 1%P %N.%3 'nvelope Ahapes................................................................................................................. 1%# %N.%Q 'nvelope Preferences........................................................................................................... 1%# %N.!" 'nvelopes in Track Templates............................................................................................... 1%# %N.!% ,sing an 'nvelopes Toolbar.................................................................................................. 1%# %N.!! (utomation :ith Hrouped Track Parameters..........................................................................1%3 %N.!1 (utomation with Track Aends............................................................................................... 1%Q %N.!2 (utomation with F8 Parameters............................................................................................ 1!" %N.!P F8 Parameter (utomation in Mearn ode............................................................................... 1!% %N.!N (utomating a OAT with )D) CC essages............................................................................1!% %N.!# (utomating F8 Parameters on the Fly.................................................................................... 1!! %N.!3 (utomation with )tems and Takes......................................................................................... 1!!

%!

%N.!Q %N.1" %N.1% %N.1! %N.11

(utomation with Kardware $utput Aends.............................................................................. 1!! (utomating (utomation....................................................................................................... 1!1 (utomating the etronome.................................................................................................. 1!1 ,sing the Tempo.Time Aignature and Play Apeed 'nvelopes...................................................1!2 Mocking 'nvelopes............................................................................................................... 1!2

"> Au o'a ion %i # Para'e er 0odu+a ion..........................................................3!?

%#.% The Concept......................................................................................................................... 1!P %#.! The )nterface........................................................................................................................ 1!P %#.1 Defining a Parameter for odulation....................................................................................... 1!N %#.2 Defining a Parameter for odification...................................................................................... 1!3 %#.P Parameter odulation with (udio Control................................................................................ 1!3 %#.N ,sing an MF$ Ahape with Parameter odulation....................................................................... 11" %#.# ,sing Parameter odulation for Dynamic Compression.............................................................11% %#.3 ;ypass ode......................................................................................................................... 11! %#.Q Parameter odulation ,nder Parameter Control.......................................................................11! %#.%" ,sing Parameter odulation with an 'nvelope.......................................................................111 %#.%% Parameter odulation under Aidechain (udio Control.............................................................112 %#.%! Further (pplications............................................................................................................. 11P

"@ E1por ing Fi+es; 0i1ing Do%n and Rendering..................................................33>

%3.% ;atch File Conversion............................................................................................................ 11# %3.! Consolidating and '+porting................................................................................................... 113 %3.1 &endering ( Pro=ect............................................................................................................... 11Q %3.2 &endering a Finished Aong..................................................................................................... 12% %3.P ;atch &endering.................................................................................................................... 12! %3.N ;urning an (udio CD with &'(P'&.......................................................................................... 121 %3.# Aaving Mive $utput to Disk..................................................................................................... 12P %3.3 &endering in Aurround Format................................................................................................ 12N

"A REAPER8s Preferences and O #er 3e ings ......................................................34>

%Q.% )ntroduction.......................................................................................................................... 12# %Q.! Heneral Preferences.............................................................................................................. 12# %Q.!.% )mport and '+port Configuration............................................................................................123 %Q.!.! Paths and @eyboards............................................................................................................12Q %Q.1 ain Pro=ect Preferences........................................................................................................ 12Q %Q.1.% Pro=ect Track.Aend Defaults ..................................................................................................1P" %Q.1.! edia )tem Defaults.............................................................................................................1P% %Q.2 (udio Configuration and Aettings............................................................................................ 1P% %Q.P (udio Preferences................................................................................................................. 1P1 %Q.P.% (udio ;uffering ...................................................................................................................1P2 %Q.P.! (udio Playback.....................................................................................................................1PP %Q.P.1 (udio Aeeking......................................................................................................................1PP %Q.P.2 (udio &ecording...................................................................................................................1PP %Q.P.P (udio Moop &ecording...........................................................................................................1PN %Q.P.N (udio &endering ..................................................................................................................1PN %Q.N (ppearance Preferences........................................................................................................ 1PN %Q.N.% (ppearance edia................................................................................................................1P# %Q.N.! (ppearance, Peaks.:aveforms..............................................................................................1P3 %Q.N.1 (ppearance Fades.Crossfades...............................................................................................1PQ %Q.N.2 (ppearance, O, eters.Faders..............................................................................................1PQ %Q.N.P (ppearance, Theme 'ditor....................................................................................................1PQ %Q.# 'diting ;ehavior Preferences.................................................................................................. 1N" %Q.#.% 'diting ;ehavior, 'nvelope Display.........................................................................................1N% %Q.#.! 'diting ;ehavior, (utomation.................................................................................................1N! %Q.#.1 'diting ;ehavior, ouse Preferences.......................................................................................1N1

%1

Up and Running: A REAPER User Guide v 4.30

%Q.#.2 'diting Preferences, )D) 'ditor............................................................................................1N2 %Q.3 edia Preferences................................................................................................................ 1NP %Q.3.% edia, )D) Preferences.......................................................................................................1NN %Q.3.! edia, Oideo.&'8. isc Preferences........................................................................................1NN %Q.Q Plug>ins Preferences.............................................................................................................. 1N# %Q.Q.% Plug>ins, Compatibility..........................................................................................................1N# %Q.Q.! Plug>ins, OAT ......................................................................................................................1N# %Q.Q.1 Plug>ins, &e:ire.D8 ............................................................................................................1N# %Q.Q.2 Plug>ins, &eaAcript ..............................................................................................................1N# %Q.Q.P Plug>ins, &ea ote ...............................................................................................................1N# %Q.%" Custom ,) Tweaks............................................................................................................... 1N3 %Q.%% Pro=ect and File anagement............................................................................................... 1N3 %Q.%! Customi9ing the Performance eter...................................................................................... 1NQ %Q.%1 Customi9ing ,ndo Kistory ;ehavior....................................................................................... 1NQ %Q.%2 &eset &'(P'& Default Aettings............................................................................................. 1#" %Q.%P Aome $ther &'(P'& $ptions................................................................................................ 1#"

!0 0ain Rig# E5+ic& 5on e1 0enus 3u''ary......................................................3>"

!".% The Track Control Panel Conte+t enu.................................................................................... 1#% !".! The 'mpty Track Mist (rea Conte+t enu................................................................................1#! !".1 The Timeline and &uler Conte+t enu..................................................................................... 1#! !".2 The edia )tems Conte+t enu.............................................................................................. 1#1 !".P The edia )tems Conte+t Aub> enus...................................................................................... 1#2 !".N The &ecord (rm Conte+t enu............................................................................................... 1#N !".# The 'nvelopes Conte+t enu................................................................................................. 1## !".3 The Transport ;ar Conte+t enu............................................................................................ 1#3 !".Q The &outing atri+ Conte+t enu........................................................................................... 1#Q !".%" The F8 :indow Conte+t enu.............................................................................................. 1#Q !".%% The edia '+plorer Conte+t enu......................................................................................... 13" !".%! The )D) )n>Mine 'ditor and )D) 'ditor Conte+t enus.........................................................13%

!" Using REAPER %i # O #er App+ica ions and Devices........................................3@3

!%.% :hat is &ea&oute/................................................................................................................ 131 !%.! Aetting ,p (pplications for &ea&oute...................................................................................... 132 !%.1 Aending (udio from &'(P'& to (nother (pplication.................................................................13P !%.2 Aending (udio From (nother D(: (pp to &'(P'&...................................................................13# !%.P ,sing &'(P'& :ith a Aynth :orkstation.................................................................................133 !%.N Ayncing to an '+ternal Device................................................................................................ 13Q !%.# Henerating and Aending Timecode.......................................................................................... 1Q"

!! 3o'e O #er REAPER Fea ures FOvervie%G.......................................................3A"

!!.% !!.! !!.1 !!.2 &'(P'& and Oideo................................................................................................................ 1Q% &eaAcript.............................................................................................................................. 1Q! &ea ote............................................................................................................................... 1Q! &'(P'& and <)<S( ............................................................................................................. 1Q!

!3 *roub+es#oo ing REAPER..................................................................................3A3

!1.% )nput.$utput )ssues.............................................................................................................. 1Q1 !1.! &'(P'& )nterface )ssues........................................................................................................ 1QP !1.1 Troubleshooting &ecord odes and onitoring........................................................................1QN

-nde1.....................................................................................................................3AA

%2

3u''ary Cis of 3 ep by 3 ep E1ercises :.

(s well as e+planations of &'(P'&7s features and guidance on how you can use them, this ,ser Huide contains a number of step>by>step actual e+amples which are designed to help you learn. These are summarised belowCreating a default F8 chain.............................................2% Mayered recording..........................................................N" <on>destructive punch recording....................................N% &ecording multiple takes................................................N! &ecording a )D) track..................................................NN &ecording with e+ternal hardware F8..............................#N Creating and using track folders......................................3Q Creating an F8 bus.........................................................Q" Track and track parameter grouping................................Q1 aster.slave grouping....................................................QP The track grouping window............................................QP Copying track F8..........................................................%"% 'diting and auditioning media items..............................%!2 Hrouping media items..................................................%1" Creating and using markers..........................................%2Q Creating and using regions...........................................%P% ,sing media cues.........................................................%P2 :orking with F8 in the i+er........................................%#P ,sing the width.stereo panner......................................%3! aster track channels ?advancedB.................................%3P Track view screen sets..................................................%Q# ,sing the )D) 'ditor...................................................!!Q )D) Pitch shift with &eaOoice......................................!1# Creating a custom keyboard shortcut............................!2P Creating keyboard shortcuts for recording.....................!2# Creating a custom action macro....................................!P" Customising mouse modifiers........................................!PN Customising &'(P'&7s menus.......................................!N" Create Custom Toolbar.................................................!N! Creating a custom toolbar.............................................!N2 ,sing sound shaping F8 ?)ntroB.....................................!NN ,sing time based F8 ?)ntroB..........................................!N3 ,sing a limiter ?)ntroB...................................................!N3 ,sing reverb ?)ntroB.....................................................!#" ,sing a compressor ?)ntroB...........................................!#1 ,sing a noise gate ?)ntroB.............................................!#1 ,sing noise reduction plug>ins ?)ntroB............................!#P ,sing a multiband compressor ?)ntroB...........................!#N Aimple track routing.....................................................!3P Channnel splitting and parallel F8 processing.................!3N Parallel F8 processing ?)ntermediateB............................!33 Aidechaining and ducking.............................................!Q% Double ducking ?(dvancedB..........................................!Q1 &eaAamplomatic and &eaDrums....................................!Q2 ,sing multi>output virtual instruments...........................!QN Parallel F8 processing ?(dvancedB.................................!Q# :riting automation envelopes.......................................1"# 'diting automation envelopes ?!B..................................1%% (utomating track sends................................................1%Q (utomating F8 parameters...........................................1!" Parameter modulation with audio control.......................1!3 Parameter modulation for dynamic compression............11% Parameter modulation under parameter control.............11! Parameter modulation with sidechain control.................112 ,sing &ea&oute ?%B......................................................13P ,sing &ea&oute ?!B......................................................13# ,sing &'(P'& with a synth workstation.........................133

3u''ary Cis of 0ain *ab+es :.

This ,ser Huide includes many instructional and summary tables. )n addition to those in Chapter %Q ?&'(P'&7s Preferences and $ther AettingsB and Chapter !" ?&ight>click Conte+t enu AummariesB, the most important of these are&'(P'&7s )nstall $ptions..................................................%3 )nstalled File and Folder Mocations....................................!N &'(P'& File Types...........................................................1" Transport ;ar Functions...................................................12 <avigating and Rooming Ahortcuts....................................1N Track F8 anagement......................................................2" Moop and Time Aelection Ahortcuts...................................2N Takes anagement..........................................................N2 (udio &ecording Checklist................................................#3 Coloring Tracks................................................................32 )tem F8 anagement.....................................................%"1 ove.<udge )tems........................................................%%2 arEuee odifiers.........................................................%%2 Take Aets and Comp anagement ?%B.............................%2! Take Aets and Comp anagement ?!B.............................%21 Take (ctions..................................................................%22 arkers.........................................................................%23 &egions.........................................................................%P% anaging F8 in the i+er...............................................%#1 anaging Aends in the i+er..........................................%#N :indows Acreen Aets.....................................................%3" ,sing multiple dockers...................................................!"P onitoring an '+ternal Aynth..........................................!"# Commonly used CC messages........................................!%% )D) 'ditor- @eyboard Ahortcuts.....................................!!1 anaging Custom (ction acros.....................................!P" Customising the &'(P'& enus......................................!P3 Customising the ain Toolbar.........................................!N% Huitar F8 Plug>ins..........................................................!3" Aample SA Plug>ins.........................................................!3" Channel &outing Plug>ins................................................!QQ Track Parameter and Aend 'nvelopes..............................1"N (utomation odes.........................................................1%" 'diting 'nvelopes...........................................................1%! anaging (utomation Display.........................................1%1 anipulating 'nvelopes..................................................1%P Parameter odulation....................................................1!N Pro=ect &endering '+amples...........................................12" Troubleshooting &'(P'&................................................1Q1 &ecord odes and onitoring.........................................1Q#

%P

Up and Running: A REAPER User Guide v 4.30

%N

" E 3e ing Up and Ge ing 3 ar ed "

"."

3e ing Up and Ge ing 3 ar ed

Do%n+oading REAPER

To download &'(P'&, visit the download page http-..www.cockos.com.reaper.download.php. &ead the on> screen information carefully ?especially about 1! bit and N2 bitB and be sure to select the correct version for your computer. )f you keep the program for more than N" days then you must purchase a license. To purchase your &'(P'& license, go to http-..www.cockos.com.reaper.purchase.php (fter downloading you will need to install the program. There are differences in the installation process for $A 8 ? acB and for :indows ?PCB.

".!

-ns a++ing REAPER on an O3 4 0ac

To install &'(P'& on a ac ?$A 8B follow this procedure. %. Double>click on the &'(P'& disk image ?.dmgB file to open it. !. )f you agree to accept the licence conditions, click on Agree to open this file. 1. Drag and drop the &'(P'& icon ?shown rightB into your App+ica ions folder. 2. )f you also want to install Rea0o e, drag this icon too into your (pplications folder. )f you choose not to do this, you can do so later. To pin &'(P'& to the dock, simply drag and drop the &'(P'& icon from the (pplications folder on to the Dock. :e strongly recommend that you should also, under 3ys e' Preferences, ensure that for your 0ouse right click is enabled as a secondary button.

".3

-ns a++ing REAPER on a (indo%s P5

To install &'(P'& on a PC with :indows you should follow this seEuence%. )n :indows '+plorer, find the install file. The file name includes the current version number, e.g. reaper40Eins a++.e1e. !. Double click on this file to start the install program. 1. Click the - Agree button to accept the conditions and continue. 2. For a normal install, accept the default folder offered to you ?but see note belowB > for e+ample, 5:HProgra' Fi+esHREAPER. P. )f you need to, enable the Por ab+e ins a++ option ?see note belowB, then click 9e1 .

For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' %#

Up and Running: A REAPER User Guide v 4.30

N. #. Aelect which elements you wish to install ?if in doubt accept the default settings > see also section %.2 belowB and click on -ns a++. :ait while the program installs. :hen prompted, click on 5+ose to close the )nstall program. Iou will be asked if you wish to run the program now- in this case, choose 9o.

9o e: )f you are installing &'(P'& for the first time, or if you wish to replace an earlier version of &'(P'& with this one, you should accept the default destination folder and not enable portable install. )f you wish to install this alongside an e+isting earlier 1.++ version, change the default directory ?e.g. to U&'(P'&2B and enable portable install. This will ensure that your earlier 1.++ settings and preferences will be preserved separately. *ip: )f you choose not to install any &'(P'& program elements or options, you can later change your mind by simply running the install program again.

".4

*#e -ns a++ Op ions F(indo%s on+yG

The )nstall screen gives you the opportunity to decide which &'(P'& elements you choose to install and which ones you prefer not to install. Misted below is a summary of your main options. ;y default, most of them are enabled.

- e'
Audio Processing P+ugEins

E1p+ana ion
This is a collection of (udio and )D) F8 that is supplied with &'(P'& D such as a Compressor, a <oise Hate and a Aynthesi9er. ,sually you should make sure this option is ticked. This allows you to work with file formats such as :avPack as well as Oideo files. P1, $HH,, FM(C and

5o'pressed Fi+e 3uppor 5us o'i=a ions Addi iona+ Func iona+i y

This allows for the use of 'uropean keyboards and offers you the option to later choose any of a number of color schemes for &'(P'&. This allows you to install elements such as the edia '+plorer, CD &ipping.;urning, Control Aurface Aupport and &e:ire. These aspects will be discussed at various places in this guide. )f you are new to &'(P'&, or to audio software in general, you might wish not to install at this stage the &ea&oute (A)$ driver, nor &e:ire nor &ea ote. This makes for simpler options when audio routing. Iou can always add these later. Meaving this option selected ensures that a &'(P'& shortcut icon will be placed on your :indows desktop. Meave this option ticked to ensure that &'(P'& is added to your :indows Atart enu. Ticking this option will enable you to open &'(P'& with any of your &'(P'& Pro=ect files direct from :indows '+plorer or any desktop shortcut that you might create for your pro=ects.

Des& op -con 3 ar 0enu 3#or cu s Associa e %i # RPP Fi+es

".?

REAPER 3of %are Upda es

&'(P'& is updated freEuently and regularly, with bug fi+es, new features and other enhancements. Iou can check for updates at any time by visiting # p:$$%%%.reaper.f'$ Aimply download and install. There is no need to first uninstall any previous version. '+isting preferences and settings will automatically be carried over. *ip- &'(P'& is freEuently updated. (n option is available under Op ions; Preferences; Genera+ ?Atartup AettingsB to have &'(P'& automatically check for updates each time the program is started ?provided of course that you are on>line at the timeB. ;y default, this option is enabled. )f you do not wish to be notified whenever a new version is available, you can disable it.

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" E 3e ing Up and Ge ing 3 ar ed

".B Enab+ing 0P3 Recording

)f you are intending to record and.or mi+ down your recordings in, or convert other recorded material to, P1 format, you will need to install an P1 encoder. ( suitable encoder is M( ', which is available free of charge. This can be obtained from any of many web sites, including http-..aegiscorp.free.fr.lame. (fter downloading, ac users should un9ip the file and then drag the dynamic library file ?named something like +ib'p3+a'e.dy+ibB into their &'(P'& application launch folder. :indows users should copy the file +a'e7enc.d++ into their &'(P'& Program directory, which by default will be 5:HProgra' Fi+esHREAPER. )t can also be copied to other applications that may need it ?e.g. (udacityB.

".>

3 ar ing REAPER

To start &'(P'&, =ust double click on the &'(P'& desktop icon. Iou might also wish to consider creating a keyboard shortcut for this. For :indows users, this is done using the 3#or cu tab of the icon7s Proper ies dialog bo+. &ight>click over the icon to display this.

".@

REAPER 3 ar up *ips

;y default, &'(P'& opens with the last used pro=ect. (s you will see later in this chapter, you can change this behavior if you wish. )n addition, you can use hot keys when starting &'(P'& to override the default settings. Ac ion $pen &'(P'& without loading last pro=ect. $pen &'(P'& without loading any default pro=ect template. 2oos er IeyFsG 3#if ?while starting &'(P'&B 5 r+ 3#if ?while starting &'(P'&B

".A

REAPER 3e+ec ions; 5on ro+s and 5o''ands

:orking in &'(P'& involves making selections and giving commands. For e+ample, to copy a single item you would select the item ?usually using your mouseB and then give the command for &'(P'& to copy it. $ther times, you will use commands that affect the whole pro=ect file without any selection. For e+ample, you might wish to save all your work. )n that case, there would be no need to select anything D you would only need to give the necessary command. There are four main methods commonly used to give commands in &'(P'&-

0e #od
*#e 0ain 0enu 5on e1 0enus *oo+bars Ieyboard 3#or cu s

5o''en
(s with other applications, this is accessed by the mouse or keyboard. Click your right mouse button over an item or area of the screen to display a conte+t menu relevant to where you have clicked. Click your mouse on any toolbar button for its command to be e+ecuted. any commands and actions can be accessed by keyboard shortcuts. Iou can also assign own shortcuts to other commands and actions. Chapter %1 will show you how. )n some cases, different modifier keys are used for the PC and for the ac. The e+amples used throughout this guide are PC ?:indowsB shortcuts. ac users should refer to this summary table of similarities and differencesP5 F(indo%sG Iey Ahift Control (lt :indows 0ac FO3 4G Iey EJuiva+en Ahift Command $ption Control

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Up and Running: A REAPER User Guide v 4.30

"."0 *#e REAPER 3creen

&'(P'& allows you to select from a number of different color themes. The screen shots used in this book mostly use the &'(P'& 2 default theme. )f you are using any other theme, you might therefore notice some visual differences. )f this causes you any difficulties, consider switching to the default theme. )n some cases modifications have been made to enhance clarity when greyscale printing. :hen you start &'(P'&, it displays a screen similar ?but not necessarily identicalB to that shown below. The e+ample shows a very simple pro=ect file that has been opened. The table below the illustration introduces briefly each of the main screen elements.

E+e'en
*#e 0enu 2ar

E1p+ana ion
This displays the 0ain 0enu near the top as a row of commands D Fi+e; Edi ; Vie%; -nser ; - e'; *rac& and so on. (s in other ac and :indows applications, the menu is used to give commands. Sust below the menu are two rows of seven buttons each. This is the &'(P'& ain Toolbar. Depending on the color theme in use, your buttons might not look the same as those shown. Kowever, as with other programs, you can hover your mouse over any button to obtain a tooltip ?see e+ample, leftB. )n Chapter %1 you will be shown how you can customi9e this toolbar. ,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. !"

*#e 0ain *oo+bar

" E 3e ing Up and Ge ing 3 ar ed

E+e'en
*#e *i'e+ine

E1p+ana ion
The timeline runs across the top of the &'(P'& window, =ust to the right of the main toolbar. )t measures the length of your pro=ect and helps you identify the position of the various media items. )n the e+ample shown, the timeline is measured and displayed in both measures and beats ?topB and minutes and seconds ?belowB. This is to the right of the Track Control Panel. )t displays the actual media items ?audio and.or )D)B that make up your tracks. )n this e+ample, there is one 'edia i e'. Oideo items can also be included, but that is beyond the scope of this guide. This area is used to control the behavior of your audio and )D) tracks D in this e+ample there is one track, labelled usic. $f course you can have as many tracks as you need, sub=ect only to any limitations imposed on you by your hardware. <otice that each track has its own set of controls. :e7ll get to what these controls do and how they are used in Chapters ! and 2. Tooltips are available for each of these ?see e+ample, leftB. This is used to control recording and playback D for e+ample, to start and stop recording. :e7ll look at this in Chapter !. This is displayed ?in this e+ampleB across the bottom of the screen. )t displays your tracks in a different way. )n this e+ample one track is shownthis is the same track as is shown in the TCP. <otice that this also includes a 0as er output track. The output of the aster is what you actually hear when you play your tracks and media items. The i+er and aster will be e+plored in detail in Chapter %".

*#e Arrange Area: 0ain (indo% and (or&p+ace. *#e *rac& 5on ro+ Pane+ F*5PG

*#e *ranspor 2ar *#e 0i1er and 0i1er 5on ro+ Pane+

DonFt be surprised if your screen doesnFt look Euite the same as this, or even if it looks a lot different. The &'(P'& screen can be customi9ed to suit your individual needs. :eFll be covering this in Aection !.

".""

*#e *rac& and *rac& 5on ro+s

)f you7ve used other D(: software before you7ll probably want to get to grips with &'(P'&7s track controls as soon as possible. This illustration shows the most commonly used of these. )n most cases you click on a control to use it ?for e+ample, click on ute button to toggle mute status of any track, click and drag on Oolume control to ad=ust the volume levelB, and right click on the control for a menu of commands, options and.or settings. <ewcomers to digital audio, don7t worry. (ll of these controls wil be e+plained in detail as you progress thru this guide.

"."!

3e ing Up For Audio

;efore you can record or play anything, there are a few setup options that have to be specified. This section covers setting up audio. This is where you tell &'(P'& which audio device?sB you have, and how you wish to use them. There are differences in how you should do this for a ac under $A 8 and a PC under :indows )n addition, it is also advisable to disable 3ys e' 3ounds. For $A 8 users, this is done in Aystem Preferences. :indows users should use the Control Panel.

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Up and Running: A REAPER User Guide v 4.30

"."!." 3e ing Up For Audio FP5 (indo%sG

To set up your (udio Device, first choose the Op ions; Preferences command from &'(P'&7s ain enu, then under Audio select Device from the list on the left. )n the e+ample shown below, an e+ternal device, a >(udio Delta %"%" PC) sound card, has been installed in the computer. This is one e+ample of the many devices available. )f on the other hand you plan to use the PC7s internal sound card, you should familiari9e yourself with its control software ?usually opened from the :indows Control PanelB. This is especially important to prevent previously recorded material from being mi+ed back in, and re>recorded with, new material when more tracks are later overlaid. Iou should also consider using (A)$2(MM drivers, which are available free of charge. For more information, see en.wikipedia.org.wiki.(udioLAtreamL)nput.$utput $n the (udio Device Preferences screen, you should set the following options- e' Audio 3ys e' Enab+e -npu s -npu Range 5o''en The other items on this screen will vary with the audio system selected . Choose A3-O and A3-O drivers if they are available for your sound card or Firewire or ,A; device. This option needs to be turned on ?tickedB if you wish to use &'(P'& for recording. )f your device has multiple inputs, specify the first and last of these that you want to be available. )n this e+ample, eight inputs are available. This enables up to eight microphones or lines ?in any combinationB to be used simultaneously for recording. )f your device has multiple outputs, specify the first and last that you wish to be available. ,sually, your (AT'& bus will direct output to a single pair of outputs, but you can use the others also if you wish. Iou can set sample rate and block si9e either here or using your sound card7s own control software. )f unsure, start with 22%"" and P%!. Clicking this button gives you direct access to the Control Aoftware for your sound card or other audio device.

Ou pu Range

ReJues sa'p+e ra e$b+oc& si=e A3-O 5onfigura ion

"."!.!

3e ing Up For Audio F0ac O3 4G

(udio devices on the $A 8 are set up and selected in the $A 8 Audio 0-D- 3e up. ake sure you have first downloaded and installed the latest ac updates Iou should also check your (udio Device in &'(P'&. To do this, start &'(P'& and choose the Op ions; Preferences command from &'(P'&7s ain enu, then under Audio select Device from the list of headers in the column on the left.

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" E 3e ing Up and Ge ing 3 ar ed

)n the first e+ample shown below, a ,A; Aaffire device ?a Focusrite Aaffire Pro 2"B has been installed. Aaffire has therefore been selected so as to ensure that this device is used for both input and output. Iou can ?as shown hereB set the sample rate and block si9e ?which helps determine latencyB here, or you can independently open the device7s own control panel and set them there. )f unsure, set these at 22%"" and P%! to begin with. )f you wish to use the ac7s internal sound card, you may need to take steps to prevent e+isting material being mi+ed back into, and re>recorded with, additional tracks when they are added later. To do this, you will need an aggregate device. $pen the $A 8 Audio 0-D- 3e up then click on the K in the bottom left corner of the window to create such a device. (dd to this aggregate device the built in input and built in output as shown here. )f you wish to rename it, double click on the te+t (ggregate Device. <e+t, in &'(P'&7s Audio; Device preferences screen, select your aggregate device and App+y your changes. Iou will now be able to use your headphones with the computer7s audio out socket and your microphone with its audio in socket.

"."3

-npu A+iasing

&'(P'& supports -npu A+iasing. This is the ability to give your own names to your audio inputs. )t can be used to shorten the long names that the system will often give to these inputs, especially when your device supports multiple inputs. (n e+ample of the use of this feature might be to change names like Ana+og -n " De+ a "0"0 F"G, Ana+og -n ! De+ a "0"0 F"G and so on to =ust 0ic$Cine ", 0ic$Cine !, etc. )nput (liasing is accessed from the Audio Preferences screen. Aelect -npu 5#anne+ 9a'e A+iasing$Re'apping. The method is similar to that used for output aliasing D see section below.

"."4

Ou pu A+iasing

&'(P'& also supports Ou pu A+iasing. This enables you to give names to your audio outputs, names that make sense to you. This is especially useful if your sound card or other audio device provides multiple outputs. For e+ample, one pair of outputs might be connected to your control room monitors, another to studio monitors, and a third pair to a multi>output headphone monitor. ;y default, your outputs will have names something like those shown here ?above rightB. Clearly, these names are not very useful to you. ;y assigning aliases to these outputs, you can ensure that whenever you need to list them ?for e+ample, when For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' !1

Up and Running: A REAPER User Guide v 4.30

determining the destination of the output from your hardware device names. E1a'p+e To create output aliases%. Choose the Op ions; Preferences command. !. Display the Audio page and in the section labelled 5#anne+ 9a'ing$0apping make sure you have ticked the option Ou pu 5#anne+ 9a'e A+iasing ?this is almost the last item on this screenB. 1. Click on the Edi 9a'es$0ap button for this item. 2. Double>click in the (liased <ames column on each item in turn to edit them. )n each case, after typing your preferred alias, click on OI to return to the Ou pu 5#anne+ A+ias$0apping window ?rightB. P. Click on OI to close this window and return to the Preferences dialog bo+. N. Click on OI to close the Preferences dialog bo+. Iour specified names should now automatically be used throughout &'(P'&. The topic of actually assigning outputs to tracks will be covered later, beginning with Chapter !. asterB your own names will be displayed, instead of the

"."?

3e ing Up For 0-D-

)f you intend to use )D) at all, you should enable your )D) devices. any PC) sound cards, Firewire and ,A; audio devices include a )D) input and output port ?for use, for e+ample, with a )D) @eyboardB. Choose Op ions; Preferences from the ain enu, then display the 0-D- Devices screen under Audio. Iou can select in turn each of the listed )D) )nput and $utput devices, right> click over its name, then choose Enab+e -npu . Iou can double>click on any input device name to display its 5onfigure 0-D- -npu settings ?see below rightB. This enables you to assign your own name ?or aliasB for the device, or to specify your

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" E 3e ing Up and Ge ing 3 ar ed

advanced timestamp options ?if reEuiredB. Iou can also Enab+e inpu for con ro+ 'essages if you wish to use the device as a )D) controller D see also Chapter %1. To assign your own name or to specify a time offset for any )D) )nput or $utput device, right click over the device name and choose 5onfigure Ou pu from the conte+t menu. . )f you have a =oystick that you wish to use with &'(P'& you should click on the Add 6oys ic& 0-D- button then select the device name and processing mode. Iou can also specify whether you wish to use it for Oirtual )D) @eyboard input an.or as a )D) control.learn device. )f you wish to use a Control Aurface, such as a ;ehringer ;CF!""" or ;C&!""", with &'(P'&, then you should set its input mode to 5on ro+ On+y. The use of Control Devices will be e+plained later in this guide, notably in Chapters %% and %1.

O #er Audio Preferences

Iou can see that there are other (udio Preference screens that we have not yet e+amined, including 2uffering, P+aybac& and Recording. These will be dealt with later in this ,ser Huide, particularly in Chapter %Q. :hen getting started, you should be able to =ust leave these settings at their defaults, only returning to change them later if you find that you wish or you need to do so. :hen finished, clicking on OI will, of course, close the Preferences bo+ and cause your settings to be remembered. This section has covered the general issues involved in setting up your system for working with )D). For pro=ect specific settings and options, see Chapter !. )n particular, if you are working primarily with )D) material you may wish to change the default pro=ect timebase setting. This too is e+plained in Chapter !.

"."B

Enab+ing V3* P+ugEins

ThereFs one further Preferences screen you will probably want to visit before you get started D V3* P+ugEins. (s with (udio Preferences, &'(P'& has several pages of Plug>in Preference screens, but these can ?at first at leastB be left to their default settings. Kowever, if you already have a collection of OAT and.or OATi Plug> ins on your computer, &'(P'& needs to be told where to find them. To do this, choose the Op ions; Preferences command, then select V3* under the P+ugEins section.

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Up and Running: A REAPER User Guide v 4.30

Iou can leave most settings as they are ?at least for nowB, but you may need to click on the Add button to specify the location?sB of the folder?sB where your OAT plug>ins are stored. $A 8 uses two 4built in5 folders for installing shared plug>ins. These are <$Cibrary$Audio$P+ugE-ns and <$Users$Lyour accoun M$Cibrary$Audio$P+ugE-ns . &'(P'& will scan these by default- you should, however, check that they are automatically listed as your OAT plug>in paths. )f not, you should add them. :indows does not locate any such folders for you. Iou will need to identify and specify where your OAT plug>ins have been installed. )f your OAT plug>ins are spread across more than one folder ?this is not unusualB, you will need to use the Add button several times, each time selecting one of your folders. ,se the OI button in the 2ro%se for fo+der window each time after selecting the folder name. Clicking the ReEscan button in the above window will then make the contents of your OAT and OATi folder?sB available immediately. &'(P'& will also scan any subfolders. &'(P'& will automatically scan your OAT folders each time the program is launched. Iou can also return to this screen at any time and add more OAT folders later. Apecify the e+tra location?sB of your OAT plug>ins, then ReE scan then App+y then OI to close this screen and cause your new settings to be remembered. Iou can find more information about the various OAT Preferences settings and options in Chapter %Q.

".">

REAPERNs -ns a++ed Fo+ders and Fi+e Coca ion

The locations to which &'(P'&7s various resources are installed will depend on whether you are using $A 8 or :indows, and even then which version. For e+ample, :indows # behaves differently from 8P. To identify where

,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. !N

" E 3e ing Up and Ge ing 3 ar ed

REAPERNs -ns a++ed Fo+ders and Fi+e Coca ions
*#e REAPER -ns a++ Direc ory E (indo%s ;y default, &'(P'& on :indows installs to 5:HProgra' Fi+esHREAPER Copy into this directory any PDF files ?such as this ,ser HuideB that you want to be able to access from &'(P'&7s Kelp enu. Aome of the optional install items are held in sub>folders of 5:HProgra' Fi+esHREAPER. These include the C$C@$A &eaPlug OAT plug>ins and ?if installedB the A:A '+tensions. (nything stored in this directory is accessible to all users of &'(P'& on this computer. ost &'(P'& features ?such as configuration files and custom settingsB are placed into an (pplications Data or (ppData folder. The location of this will depend upon which version of :indows you are using. To access the &'(P'& (ppData or (pplication Aupport folder, choose Op ions; 3#o% REAPER resource pa #... from &'(P'&7s main menu. Aome of the main items you can e+pect to find there are listed below. Iou should find that you have a number of sub>directories here, such as5o+or *#e'es 0enu3e s 5onfigura ions Prese s 5ursors Pro6ec 2ays Da a Pro6ec *e'p+a es Effec s OueuedRenders F45#ains 3crip s Iey0aps *rac&*e'p+a es any of these are self>e+planatory, especially those which contain the various files and items that you can create yourself as an aid to managing your &'(P'& pro=ects. For e+ample, any F8 Chains that you create will be stored on the F8Chains sub>directory. Custom menu and toolbar data is stored in the enuAets sub>directory, and so on. Topics such as creating F8 Chains and Custom enus are covered elsewhere in this user guide. )nformation held in the Da a directory includes track icons and toolbar icons. The Effec s folder is where your SA effects are stored. prese Evs Ep+ugna'e.ini REAPER.ini reaperEd1p+ugEins.ini reaperEvs p+ugEins.ini reaperEreginfo.da reaperEreginfo.ini reaperErecen f1.ini screense s.ini 3pecify Defau+ Pa #s for Recording and Rendering For each OAT plug>in, a separate file is used to store any presets that you have created or imported. This includes all of your $ptions, Preferences settings, information about your last screen layout, and your recently used pro=ects history. These files store information about your installed plug>ins. Atore your product registration data This file stores a list of your recently used F8- this list is used to produce the &ecently ,sed F8 submenu that is available in the i+er. This file stores details of your windows screen sets. <ote that track screen sets are stored with the relevant .&PP file. Iou can use the Genera+; Pa #s page of your Op ions; Preferences to specify default paths for your recorded media items. <ote however that any path specified in your Pro=ect Aettings will take precedence over this. Iou can also specify default paths for your waveform peak files and for pro=ect rendering.

*#e App+ica ion Da a$ 3uppor Direc ory 3ub Direc ories

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Up and Running: A REAPER User Guide v 4.30

ThereFs one more thing that might interest you here. (ll of the settings, preferences and custom files are te+t files. (ny of them can be opened and modified using a te+t editor such as <otepad. This even applies to &'(P'&Fs pro=ect files, with .&PP e+tension. $f course, most probably you will never need to do this, and if you do, you should always take a copy first, =ust in case of any errors or accidents. Kowever, you should never try to use a te+t editing program to open, view or edit any file ending in .app, .d'g, .e1e or .d++

"."@

Coca+i=a ion and Canguage Pac&s

Aelecting a language pack causes &'(P'& to use that language for its menus, dialog bo+es, tool tips, and so on. The default language is ,.A. 'nglish. Manguage packs are managed from the Genera+ page of &'(P'&7s Preferences. To see what language packs are available, and to download any, click on the link Do%n+oad +anguage pac&s ?see belowB. This will take you to a ,&M where you can follow the links ?including to &'(P'& AtashB to find your language. (fter downloading, close the Preferences window and use the command Op ions; 3#o% REAPER resource pa # in E1p+orer$Finder to display &'(P'&7s resource folders. <e+t, drag and drop the downloaded file?sB into the MangPack folder. To select a language pack other than ,.A. 'nglish, select from the drop down list ?rightB and click on OI. Iou will need to restart &'(P'& for the language to take effect.

"."A

2ac&ing Up 3e ings

)n this chapter you have been introduced to some of &'(P'&7s settings and preferences. (s you progress, you will find many more. Iou can back up these settings and preferences at any time. This can be a good precaution to take against system failure, and can also be used to ensure identical &'(P'& installations on two or more machines. The procedure for doing this is e+plained in Chapter %Q under the heading 4)mport and '+port Configuration.5 Don7t be concerned if you do not yet understand the meaning of many of the options. Sust keep it in mind that this facility is always available. )f uncertain about what to back up, it can be a sensible precaution to backup all your configuration settings from time to time, each time to a new &eaperConfig.9ip file. Kow often you should do this really depends on how often you make changes to any of your settings, and how important those changes are to you. &emember to keep a copy of your &eaperConfig.9ip files off line, for e+ample on an e+ternal drive or a ,A; flash drive.

".!0

Running REAPER on a F+as# Drive

Iou can install &'(P'& on a ,A; flash device, or other e+ternal drive. This ensures, for e+ample, that if you are going to be away from home or your normal workplace, you can take your ,A; Atick ?or e+ternal driveB with you, plug it in to a computer, and away you go. ;efore you can install &'(P'& on a flash drive, it makes sense to first install it on your hard drive. :hen you then install &'(P'& to an e+ternal device in this way, all your settings, preferences etc. are also migrated. The install method is different for $A 8 and :indows users.

O3 4
%. !. 1. 2. %. )nsert the flash drive into a ,A; port. Create a new folder on this flash drive, e.g. &'(P'&2. )n this folder create an empty te+t file called reaper.ini $pen the ac folder containing the &'(P'& disk image ?.dmgB file- this will most likely be Downloads. Double click on this file to open it. Drag and drop the &'(P'& icon to the new folder on the flash drive. ;e patient. There is a large number of files to be transferred. This can take %" minutes or more. )nsert your e+ternal device into an available ,A; port on your PC. <ote its drive letter ?e.g. '-, F-. H-, K-. )-. etc.B. This will depend how many internal hard drives, disk partitions, e+ternal hard drives, DOD burners, etc. you have already installed.

(indo%s

,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. !3

" E 3e ing Up and Ge ing 3 ar ed

!. Double click on the &'(P'& install file to start the install process. 1. Click on - Agree to accept the license agreement. The Choose )nstall Mocation window will be displayed. 2. 'nable the option for Por ab+e ins a++. P. Click on 2ro%se. Aelect your flash drive and click on 0a&e 9e% Fo+der. <ame the folder ?e.g. &'(P'&B and press En er. N. $n returning to the screen shown here, work your way thru the installation process in the normal way. #. :ait while the various files are installed. There are a lot of files and this might take Euite a few minutes.

".!"

REAPER 3 ar 0enu Op ions F(indo%s on+yG

<ormally to start &'(P'& you can simply double>click on your :indows desktop shortcut. This will cause &'(P'& to be started in accordance with your e+isting preferences and settings. Kowever, for times when you do not wish to do this, you should also be aware of other options available from the :indows 3 ar menu. Click on the 3 ar button, then A++ Progra's then REAPER to be presented with a flyout menu of choices0enu 5o''and -ns a++ REAPER o U32 &ey Rea0o e 3+ave REAPER REAPER Fcrea e ne% pro6ec G E1p+ana ion This can be used to install &'(P'& to a Flash drive or similar device. Kowever, the method described earlier in this Chapter is simpler* The use of Rea0o e is beyond the scope of this ,ser Huide. Kowever, you can read an overview in Aection !!. Atarts &'(P'& normally, with last pro=ect. Atarts &'(P'& with a new pro=ect file.

REAPER Frese configura ion o Atarts &'(P'& and resets all settings, options and preferences to factory fac ory defau+ sG defaults. ,se this with caution* REAPER FRe(ire s+ave 'odeG REAPER Fs#o% audio configura ion on s ar upG REAPER Cicense Unins a++ REAPER (#a sne%. 1 $pens &'(P'& as a &e:ire slave. This is beyond the scope of this ,ser Huide, but is discussed in overview towards the end of Chapter %P. Atarts &'(P'& with the (udio settings Preferences page. Displays Micense information. ,ninstalls &'(P'&. )f you need to uninstall &'(P'& for any reason, you should always use this method. $pens the te+t file displaying a history of new features and changes introduced in each version of &'(P'&. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' !Q

Up and Running: A REAPER User Guide v 4.30

".!! REAPER Fi+e *ypes

Mike any other program, &'(P'& creates a series of files that it uses to store your work. Aome of the main file types and their purposes are described in the table below, along with other useful information. Fi+e *ype .RPP &'(P'& Pro=ect File .RPPEba& Pro=ect ;ackup File .RPPEU9DO ,ndo Kistory File E1a'p+e A+one.RPP E1p+ana ion This file is the core of your pro=ect. )t holds all the information about your tracks, your media and their settings. .&PP files are stored in te+t format. :hen you save an e+isting pro=ect file, the previous version is saved with the .&PP>bak e+tension. Iou can recover a pro=ect from its previous state by opening the backup file. This file type will be created if you select the option to save your undo history with your pro=ect files. This option is included in the Undo 3e ings section of the Genera+ settings in your Op ions; Preferences window. This topic is e+plained more fully in Chapter !. These files contain the information necessary to enable &'(P'& to draw the waveforms etc. on your media items. These files contain inde+ information about your individual media items.

A+one.RPPEba&

A+one.RPPEU9DO

.reapea&s &'(P'& Peaks File .reapinde1 &'(P'& Peaks File

Vo1.%av.reapea&s Vo1.%av.reapinde1

".!3

Pops and 5+ic&s

Iou7re nearly ready to start making music with &'(P'&* ;efore you do, though, you should take a few moments to read this section, which deals with the not uncommon problem of unwanted pops and clicks being heard when you play back your music. This is a computer issue rather than a &'(P'& specific issue, and is generally less likely to occur with a ac than with a PC. )f you encounter the sound of unwanted pops and clicks when you play back a song in &'(P'&, then most probably all it means is that your audio device settings are not right for your computer. (s a Euick fi+, try ad=usting the block si9e ?Preferences, (udio, DeviceB, starting at %!3 and working up thru, !PN, P%!, #N3 or %"%! to find the lowest setting for your system at which you can play back your music without any pops or clicks getting in the way )f you do encounter this problem, you should also read Chapter %Q.2 to learn more about this topic.

".!4

Unins a++ing REAPER

There is no need to uninstall your current version of &'(P'& before installing a new one. Iour e+isting installation will automatically be upgraded from the new installation. Kowever, should you wish to uninstall &'(P'& for any reason, $A 8 users should simply drag the &'(P'& icon into Trash and then remove the folder <$Cibrary$App+ica ion 3uppor $REAPER. :indows users should follow this procedure%. Click on the :indows 3 ar button, then A++ Progra's, then REAPER then Unins a++ REAPER. !. :hen the &'(P'& ,ninstall :i9ard is displayed, click on Unins a++. 1. :hen the uninstall process is finished, click on 5+ose. 2. :hen prompted, choose ,es if you wish to see which files have been left on your Kard Drive, otherwise choose 9o. *ip: )f you are likely to be reinstalling &'(P'& at some later date, do not remove these files. This will ensure that your previous settings and preferences will be recalled when it is reinstalled.

,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. 1"

! E REAPER Pro6ec 2asics !

!."

REAPER Pro6ec 2asics

3ec ion Overvie%

)n this chapter you will be taught the essential basics about working with a pro=ect file in &'(P'&. Topics include opening and closing files, navigating the &'(P'& environment, working with tracks and audio effects, and more. ost of the topics introduced here will be covered in greater depth and detail later in this guide.

!.!

Opening an E1is ing Pro6ec

To open an e+isting &'(P'& Pro=ect File, use the Fi+e; Open Pro6ec command, or the keyboard shortcut 5 r+ O. (s with other :indows (pps, you will need to navigate to the appropriate folder to find your pro=ect. &ecently used pro=ects can more easily be opened using the Fi+e; Recen Pro6ec s command. This causes a list of up to the last %"" recently used pro=ect files to be displayed. Iou can then select any file from that list.

The Genera+ page of your Op ions; Preferences window offers a number of options. )n particular, you can anage your Undo preferences ?see Chapter !B. Apecify whether or not you want the most recently used file automatically loaded when &'(P'& is started. ,se the Coad Cas Pro6ec on 3 ar up option for this. Apecify whether you want to Au o'a ica++y 5#ec& for 9e% Versions of REAPER on 3 ar up. Determine the number of files displayed on the Recen pro6ec +is . $ther Heneral Preferences settings are discussed and e+plained in Chapter %Q. <otice too the toggle command 5on inuous scro++ing on the Op ions menu. )f disabled ?the defaultB, the play cursor will scroll from left to right during playback. )f enabled, this cursor will find and then remain stationary in the center of the arrange window during playback, while the media items scroll across the screen. The e+amples used throughout this guide use the pro=ect file A++ *#roug# *#e 9ig# .RPP. This can be downloaded from %%%.coc&os.co'$%i&i$inde1.p#p$REAPER7User7Guide. )t might help you to keep that pro=ect open while using this documentation. Take a copy of this file and work with that. Iou will then be able to e+periment freely without fear of damaging any of your own important pro=ects. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' 1%

Up and Running: A REAPER User Guide v 4.30

!.3 Pro6ec 3e ings

'very &'(P'& pro=ect has a number of settings that can be defined and changed to meet the reEuirements of each individual pro=ect. The Pro6ec 3e ings dialog bo+ is accessed by choosing the Fi+e; Pro6ec 3e ings command, or by using the keyboard shortcut A+ En er. The dialog bo+ has three pages of settings > Audio 3e ings, Pro6ec 3e ings and 9o es. )f in doubt, you can leave most of these settings at their default values, at least until you understand better what they are and how they work.

Pro6ec 3e ings: 0edia

These include Pa #s ?primary and secondaryB to store media files. For e+ample, if you specify 4(udio5 then your media will be stored in a folder called (udio, where this is a sub> folder of the pro=ect folder. )f you leave these blank, &'(P'& will use the same folder as the pro=ect file. Recording for'a > typically :(O or P1, but there are others , e.g. ()FF, FM(C, $HH Oorbis and :avPack. 3e ings and specifications for chosen recording format D e.g. for :(O files this includes ;it Depth. Preferred 'edia for'a s when F8 are applied, or items are glued or fro9en, and when media items are rendered.

Pro6ec 3e ings: Pro6ec 3e ings

These include Pro6ec 3a'p+e Ra e: for e+ample, 22%"" K9 ?CD standardB or 23""" K9 ?DOD standardB. $ption to force the time signature to beats or whole samples. Pro=ect bea s per 'inu e and i'e signa ure. ethod for setting the i'ebase for items.envelopes markers and for tempo.time sig > essentially you have a choice of Time, ;eats ?position, length rateB or ;eats ?position onlyB. Aee notes below. Preferred Fra'e Ra e. Pro6ec s ar time and measure. Meave these at its default setting for now. )n Chapter %% you7ll be shown why and how you may wish to change them. Playback and render resa'p+e 'ode. Default method and parameter to be used for pi c# s#if ing. :e7ll deal with this topic in Chapter Q.

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! E REAPER Pro6ec 2asics

Pro6ec 3e ings: Advanced
- e' 0i1 2e#avior. Determines how &'(P'& should behave when one media item is placed directly on top of another. The options are for 'nclosed )tems to &eplace enclosing items, )tems always to be mi+ed, or for the newer item to always replace the older item. *rac& 'i1ing dep #. )f unsure, leave at the default setting. The option to allow feedbac& in rou ing. Feedback routing can be useful for some advanced mi+ing activities, but it is not without its risks. )f you are in any doubt, do not select this option. The option to sync#roni=e the pro=ect with the timecode of an e+ternal device. The option to limit pro6ec +eng # and recording time. Apecifying a defau+ pan +a% for your tracks. The pan law determines how the relative volume of a track behaves when that track is panned more or less to one side or the other. Gain co'pensa ion boos can be enabled or disabled. Pan laws mare discussed in more depth in Chapter !. eanwhile, if you are unfamiliar with how pan laws work, leave these at their default settings. Defau+ rac& pan 'ode. Iou have choice of pan modes, some mono, some stereo. Aee Chapter %".

*#e Pro6ec *i'ebase 3e ings The pro=ect timebase controls how media items, track envelopes, and pro=ect markers behave when the pro=ect tempo changes. :hen possible, get your pro=ect timebase settings right before you record or import any items. The default settings are 2ea s Fposi ion; +eng #; ra eG for items.envelopes.markers and 2ea s for tempo.time sig envelopes. For more detailed information about the timebase, $pen the Ac ions +is ?from &'(P'&7s main menuB and run the action Pro6ec se ings: i'ebase #e+p . For more about the (ctions Mist, see Chapter %1. )t7s worth also noting that you can still over>ride the pro=ect timebase setting for individual tracks within your pro=ect. To do this, select the track?sB and choose 3e rac& i'ebase from the track control panel conte+t menu. To do this for an individual item, select the item then press F! to display the )tem Properties dialog bo+. Pro6ec 3e ings: 9o es This very handy section lets you enter any notes and comments that you would like to be included with your pro=ect file. Iou can specify that the notes should automatically be displayed each time the pro=ect is opened. *ip: Iou can save all these settings as the defaults to be used for future new pro=ects. $f course, for any individual pro=ects you can over>write your defaults.

!.4

Direc ing Audio Ou pu

(udio output will by default go from your master to the first available pair of outputs on your soundcard ?usually outputs % and !B, and only to this pair. )f your sound card has multiple pairs of outputs and you wish to change this, you can do so via the Rou ing 0a ri1 ?Vie%, Rou ing 0a ri1 or A+ RB. Iour available hardware outputs should be displayed along the top of the grid. Kere you can select and.or deselect any of the available outputs. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' 11

Up and Running: A REAPER User Guide v 4.30

!.? *#e *ranspor 2ar

)f the Transport ;ar is not visible in your &'(P'& window, use the Vie%; *ranspor command to display it, or use the keyboard shortcut 5 r+ A+ * to do this. The Transport ;ar might appear as a floating window inside &'(P'&, or it might be docked =ust below your track control panels. (t this stage, the position of the Transport ;ar does not matter. The main Transport Controls are the seven buttons in the center, which are as followsFunc ion Re%ind o s ar of pro6ec 3 op and re%ind o %#ere p+ay +as s ar ed Fedi cursorG P+ay Pause F3 op a curren posi ion and 'ove edi cursorG Go o end of pro6ec Record *ogg+e Repea F%#en a +oop #as been definedG Defau+ Ieyboard 3#or cu ( 3pace 3pace 5 r+ 3pace End 5 r+ R R

To the left of the buttons is displayed the current pro=ect time. )n the above e+ample, this is %-!#.2!#. ;elow that are shown the start and end positions and length of any current i'e se+ec ion. Time and loop selection will be covered throughout this ,ser Huide, but especially in Chapters N and 3. (t the far left is the G+oba+ Au o'a ion Override feature- we7ll revisit this in Chapter %N. To the right of the control buttons is displayed a Ra e 5on ro+ Fader edit bo+ which can be used to speed up or slow down playback. To the left of that are edit bo+es that show the Pro=ect 2ea s per 0inu e setting. To change the value of any edit bo+ ?such as beats per minuteB you can click in the bo+ and type the new value. )f you prefer, you can also hover your mouse over the bo+ and use your mousewheel to increase ?upB or decrease ?downB the value. $ther useful Transport Control keys are listed in the table that follows. Func ion Go bac& a +i +e Go for%ard a +i +e P+ay F%i # +oop se+ec ion s&ippingG Defau+ Ieyboard 3#or cu 5 r+ Cef 5 r+ Rig# A+ 3pace

&ight clicking over the Transport ;ar displays a conte+t menu. This may seem slightly intimidating at first. :e7ll get to the more advanced stuff in Chapter 3, but for now =ust notice that there are menu options available to Aelect your preferred time display format. Dock or ,ndock the transport in the ain :indow. Iou can choose the main docker or any of four other positions D 2e+o% arrange vie%, Above ru+er, 2o o' of 'ain %indo% or *op of 'ain %indo%. 3crubbing The top of the edit cursor is marked by an upside down triangle. Iou can grab this with your mouse and drag to move the edit cursor without affecting playback. Depending on your preferences settings, you may need to hold down the 3#if key while you do this. )f you do this when the pro=ect is not playing, it will have the effect of 4scrubbing5 your audio.

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! E REAPER Pro6ec 2asics

!.B *#e 2ig 5+oc&

,se the Vie%; 2ig 5+oc& command ?or press A+ 5B to toggle on and off the display of the ;ig Clock, which clearly displays the current position of the 'dit Cursor. This window can be si9ed and moved at will, or docked in the docker. &ight clicking over the ;ig Clock gives you a conte+t menu of options, including changing the display format.

!.>

*rac& 5on ro+s

)f you play the pro=ect A++ *#roug# *#e 9ig# .RPP you will notice that e+actly the same sound is coming out of both speakers and that the different instruments and vocals are all competing with each other for the same acoustic space. ThatFs because no ad=ustments have been made to the Oolume or Pan controls for these tracks. The e+act position of these faders may vary according to the width and height of the your control panel. The hori9ontal fader shown here is used to ad=ust a trackFs vo+u'e. The smaller rotary to its right ?positioned here at centerB ad=usts the panning, sending the signal more to the left speaker or the right speaker as preferred. 'ach track may also contains a second rotary pan control ?not shown hereB =ust below the first pan control. :hether this control is present ?for stereo width controlB will depend on which pan mode and.or track layout is selected ?see Chapters %" and %%B. Atereo width control is a more advanced concept, primarily used for folders and tracks with stereo media files. This will be covered in Chapter %". ,ntil then, we will be working with =ust the one pan control. )n any event, to ad=ust any hori9ontal, vertical or rotary faders in &'(P'&, you can Click and hold down the left mouse button over the fader, then drag in the direction reEuired, releasing the mouse when finished. For rotary faders, drag up to rotate clockwise, down for anti>clockwise. Kold 5 r+ while doing this for more subtle ad=ustments. Kover your mouse over the fader, use the Acroll :heel to ad=ust the level down.up. To disable this feature, go to Op ions; Preferences; Edi ing 2e#avior; 0ouse and select -gnore 'ouse%#ee+ on rac& pane+ faders. ore about mouse behavior preferences can be found in Chapter %Q. &ight>clicking on the volume fader opens the routing dialog bo+ ?shown rightB. Iou can enter values as d; for volume ?e.g. >NB and as percentages for pan ?e.g., !P& for !PJ rightB and width directly into this bo+. ;y default, the volume and pan controls apply to a track7s audio output. )f you want to use these to control its 0-Dsignal, right>click on the track number in the TCP, then choose 0-D- rac& con ro+s, then Cin& rac& vo+u'e pan o a++ 0-D- c#anne+s from the conte+t menu ?see Chapter %!B. *ip: To audition possible changes, hold down the A+ key while dragging the fader with the mouse. :hen you release the mouse, it will then return to its original position. *ip: To work with more than one track, hold down 5 r+ while clicking in the Track control panel on each track number reEuired. Then release 5 r+. (ny fader or other movement will be applied to all selected tracks. The two rightmost buttons on each trackFs control area have these functions0u e 3o+o Toggles ute on.off for selected track?sB 9o e- ;oth the ute and Aolo controls can also be used with modifier keys such as (lt and Ctrl for various functions. Aee Chapter 2 for details.

Toggles Aolo on.off selected track?sB

<otice that by default, track 3o+o causes not only the track itself to be played, but also the output of any sends originating from that track. )f you wish to hear only the track without these sends, hold the A+ key while you solo the track. <otice also that immediately below the arm record button is another button. This is the p#ase con ro+ button. This can be used to reverse track polarity. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' 1P

Up and Running: A REAPER User Guide v 4.30

!.@ Pan Ca% and Pan 0ode

Iou can also change the pan +a% for individual tracks. &ight>clicking over a trackFs pan fader opens a window where you can select from the list ?in a range "." d; to >N." dbB or type in your own value. ( negative setting causes the signal at the center to be attenuated as panning increases. The Gain co'pensa ion Fboos pansG option can be enabled to cause the signal7s audio strength to instead be boosted as it is panned. (nother option is to select your preferred pan 'ode ?see rightB. This is Euite a comple+ topic and will be e+plained and dealt with more fully in Chapter %" when we look at stereo panning. )n brief, however, you have a number of options D 3 ereo ba+ance$'ono pan is the default ?see Pro=ect AettingsB. This is eEuivalent to the panning mode used in versions of &'(P'& before &'(P'& 2. )f you select stereo pan or dual pan, the width panner will automatically be displayed. The various pan modes are e+plained, along with stereo and dual panning, in Chapter %".

!.A

9aviga ion and Poo'ing

9aviga ing %i #in #e *rac& 5on ro+ Pane+

The following keyboard shortcuts can be used to navigate within the Track Control PanelFunc ion Go o ne1 rac&. Ieys ro&e 5 r+ A+ Do%n 5 r+ A+ Up

Go o previous rac&.

Ad6us ing Pane+ (id # %i # 0ouse

To ad=ust the width of the track panel area, place your mouse over the vertical border that separates the track control panel area from the main workspace area, until the mouse indicator changes to a hori9ontal black double headed arrow. Click and hold down the left mouse button while dragging the mouse left or right. &elease the mouse button when the desired track control panel width is reached. <ote that double>clicking on this vertical border will toggle track panel visibility on and off.

Ad6us ing *rac& )eig# %i # 0ouse

Func ion Ad6us #eig# of sing+e rac&. Ad6us #eig# of se+ec ed rac&s. Ad6us #eig# of a++ rac&s. Ad6us #eig# of a++ rac&s. Ac ion 5+ic&$drag up$do%n on +o%er rac& boundary A+ K c+ic&$drag up$do%n on +o%er rac& boundary 5 r+ K c+ic&$drag up$do%n on any +o%er rac& boundary 5+ic& and drag up$do%n be %een K and Q sy'bo+s on ver ica+ scro++bar.

*ogg+ing *rac& )eig# %i # Ieyboard or 0ouse

Func ion Toggle between normal track height and minimised track height, all tracks Toggle between normal height and ma+imising currently selected track. '+pand height of selected tracks, minimise all others. Press again to restore all tracks to same height. Ieys ro&e R ?this is the key immediately to the left of ", usually directly above the *ab keyB. < ?on most keyboards, this is the 3#if key in combination with the R keyB. * ?on most keyboards, this is the 3#if key in combination with the " keyB.

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! E REAPER Pro6ec 2asics

Func ion inimise all tracks. Toggles height of all tracks between minimised, normal and ma+imised. Ieys ro&e S ?on most keyboards, this is the 3#if key in combination with the ! keyB. Doub+e c+ic& 'ouse on ver ica+ scro++ bar

Poo'ing -n and Ou %i # #e Ieyboard

The following keyboard shortcuts can be used for 9ooming within a pro=ectFunc ion Poo' Ou ver ica++y; decreasing rac& #eig# Poo' -n ver ica++y; increasing rac& #eig# Poo' o curren Poo' Ou i'e se+ec ion Ieys ro&e Page Do%n Page Up 5 r+ 9u' Pad K 5 r+ Page Do%n E F #e 'inus signG K F #e p+us signG 3#if Do%n 3#if Up

o en ire pro6ec +eng #

Poo' Ou #ori=on a+ Poo' -n #ori=on a+ Poo' Ou 'edia pea&s Poo' -n 'edia pea&s

3cro++ing %i # #e Ieyboard
The following keyboard shortcuts can be used for scrolling within a pro=ectFunc ion 3cro++ Vie% do%n 3cro++ Vie% up 3cro++ Vie% +ef 3cro++ Vie% rig# Ieys ro&es A+ Do%n A+ Up A+ Cef A+ Rig#

Poo'ing and 3cro++ing %i # #e 0ouse%#ee+

The mousewheel can also be used for 9ooming in and out when you are navigating a pro=ect file. The table below summarises how the mouse wheel behaves. 2e#avior )ori=on a+ Poo' Ver ica+ Poo' )ori=on a+ 3cro++ Ver ica+ 3cro++ 0odifier Iey for 0ouse%#ee+ ?no modifierB 5 r+ A+ 5 r+ A+
9o e: &'(P'&7s 9oom center settings give you more precise control over the program7s 9oom behavior. These can be found in the Edi ing 2e#avior section of your Preferences. Aee Chapter %Q for more information.

Iou can change any default keyboard and mousewheel assignments if you wish. For e+ample, you might like to use =ust the Down and ,p arrows ?without Ctrl (ltB to go to the ne+t or previous track, or to use the mousewheel without a modifier to scroll rather than 9oom. Iou can also use other customi9ed mouse modifiers for 9ooming. ouse modifiers will be covered in Chapter %1 *ip: 0a&ing and using a =oo'$naviga e oo+bar. Rooming and navigating are activities that are performed a lot. Iou might wish to consider making your own Room.<avigate custom toolbar. )t isn7t as complicated as it might sound. Kow to create your own custom toolbars is e+plained in Chapter %1. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' 1#

Up and Running: A REAPER User Guide v 4.30

!."0 Using #e 9aviga or
The &'(P'& <avigator shows you an overview of your pro=ect. )t can be useful to display this when you are 9ooming closely on an area of your pro=ect. To display the <avigator, choose the Vie%; 9aviga or command. The keys 5 r+ A+ V can be used to toggle the <avigator display on and off. Iou can also use the <avigator window to scroll thru your pro=ect. Aimply position the mouse over the bo+ within the navigator window that represents the on>screen area of your pro=ect. Then hold down the left mouse button, and click and drag to scroll the display. &elease the mouse button when finished. $ther ways of using the 9aviga or areAc ivi y Define ne% area o be disp+ayed in REAPER %or&space. Reposi ion rec ang+e and %or&space disp+ay area. Reposi ion and re+oca e p+ay cursor. Use as in %or&space o scro++ and$or =oo'. 0e #od )o+d do%n rig# 'ouse bu on; drag and re+ease Cef c+ic& 'ouse 5 r+ Cef 5+ic& 0ouse%#ee+

!.""

*rac& F4 2asics

Track F8 ?SA, OAT and Direct 8 as well as OATi and D8i, and, for ac users, (,B can be added to any track by directly inserting the F8 into the F8 :indow for the reEuired track. )n some programs, these are known as track inserts. ( good selection of F8 plug>ins is supplied with &'(P'&, including Sesusonic and Cockos effects. :e7ll be taking a closer look at many of these individually later in this ,ser Huide, especially in Chapters P and %2. For now, let7s =ust focus on some general aspects of how F8 fit in to the &'(P'& scheme of things. To use any of these F8, simply follow this procedure-

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! E REAPER Pro6ec 2asics

%. !. 1. Click on the F8 ;utton in the Track Control Panel of the track to which you want to add the F8. This causes the (dd F8 window for that track to be displayed ?see belowB. Aelect a category, e.g. (ll Plug>ins, D8, OAT, SA, Cockos. (ll available F8 in that category will be listed. Double click on the name of the reEuired F8. (n e+ample is shown here.

2. To add more F8, click on the Add button in the Track F8 window, then repeat steps ! and 1 above.

9o e: :hen you add any plug>in to any track7s F8 chain, that plug>in will then be displayed in the F8 ;rowser7s Recen +y Used F8 folder.

!."!

Using #e 3upp+ied F4 Prese s

Oery often you will wish to use some of the e+cellent F8 that are shipped with &'(P'& to improve the sound of your tracks. The use of these F8 is a huge topic. Iou will find many e+amples in Chapters %2, %P and %N of this ,ser Huide. For more detailed information and more advanced e+amples, you should consider obtaining a copy of Rea0i1: 2rea&ing #e 2arriers %i # REAPER which is available from the &'(P'& ;ookstore at http-..stores.lulu.com.store.php/ f(cct)D0%1#2#32 Kowever, as a means of getting started you might wish to e+plore some of the presets that come with these plug>ins. For e+ample, 5oc&os ReaDe+ay includes presets which as a starting point you can try with your various tracks. Aimply display the drop down list and select the item that you want ?e+ample shown rightB. ost of the Cockos &ea series of plug>ins include a number of presets. Iou can e+plore these for yourself to discover what is available. $f course, you can also make any ad=ustments and changes to these that you like, in order to customi9e them more precisely to your own needs. *o se any F4 prese as #e defau+ for #a F4 %. !. 1. Aelect the reEuired preset from the drop down list. Click on the K button to the right of the list and choose 3ave prese as defau+ from the menu. Type your own name for the preset and click on OI.

For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' 1Q

Up and Running: A REAPER User Guide v 4.30

(s well as the presets supplied with &'(P'&, you can download further sets by visiting http-..stash.reaper.fm. and following the link to F4 Prese Cibraries. To import downloaded presets into &'(P'&, follow this seEuence%. )nsert an instance of the plug>in into any track. !. Click on the K button ?=ust left of the Para' button in the F8 Chain windowB. 1. Choose -'por Prese Cibrary. 2. <avigate to and select the reEuired file then click on Open.

!."3

5on ro++ing *rac& F4

&'(P'& provides you with a number of tools to help you manage your Track F8. For e+ample, you can Change the order in which they are applied. Copy or move any F8 from one track to another. Aave ?and retrieveB any seEuence of F8 as a chain that can be easily inserted into other tracks. ;ypass individual F8 or an entire F8 chain. Apecify a default set of F8 to be automatically inserted into new tracks for your pro=ect. *as& Doc& #e F4 5#ain Ad6us #e va+ues for *rac& F4 para'e ers 0e #od Choose the F4; Doc& F4 (indo% in Doc&er command. Drag with the mouse, or scroll the mouse wheel over, the fader that controls the value of the parameter that you wish to change. For fine ad=ustments, hold down the 5 r+ key while you do this. )f you prefer, select the control with the mouse, then use the up.down keys on your keyboard. Ad6us #e %e $dry 'i1 of any F4 Aelect the plug>in in the F8 chain, then use the mouse to ad=ust the small rotary control ne+t to the ,) button on &'(P'&7s F8 window interface, as shown here. ( setting of %""J eEuals completely wet- a setting of "J represents completely dry. 5#ange *rac& F4 Order for a rac& F+oa an F4 %indo% Ieep F4 or Add F4 %indo% on op 5+ose a f+oa ing F4 %indo% 5opy an F4 fro' one rac& o ano #er. 0ove an F4 fro' one rac& o ano #er. Rena'e an F4 -ns ance 2ypass an F4 Re'ove an F4 fro' a rac& Drag and drop the F8 name up or down within the Track F8 window. Double>click on the F8 name in the F8 Chain window ?togglesB. Click on the pin symbol at right of title bar. Double>click on F8 window title bar. Kold down 5 r+, drag the F8 from the source track F8 window and drop on the track panel for any other track. Kold down A+ , drag the F8 from the source track F8 window and drop on the track panel for any other track. Aelect the F8 name in the F8 Chain and press F!. ,ntick either the check bo+ left of the F8 name in the Track F8 window or the check bo+ in the top right corner of the F8 window. Aelect the F8 name within the Track F8 window then click on the Re'ove button.

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! E REAPER Pro6ec 2asics

*as& Re'ove a++ F4 fro' a rac& 3earc# for an F4 3ave #e curren seJuence of *rac& F4 as a c#ain 3ave se+ec ed *rac& F4 as a c#ain 0e #od Kold A+ while clicking on the trackFs F8 button in the TCP. 'nter te+t in the Fi+ er Cis at the bottom of the F8 window. )n the Track F8 window, choose the F4; 3ave F4 5#ain command. F8 parameter settings are saved with the chain. Aelect the names of the F8 to be included in the chain ?use Ctrl key while clicking the mouseB, then choose F4; 3ave 3e+ec ed F4 as 5#ain :ithin the Track F8 window, choose F4; 3ave 5#ain as defau+ for ne% rac&s. :ithin the Track F8 window, choose F4; Add F4 5#ain command, or within the TCP right>click over the F8 button and select Add F4 5#ain from the menu. :ithin the Track F8 window, choose F4; Coad Defau+ *rac& 5#ain from the menu. :ithin the Track F8 window, choose the Op ions; F4 P+ugEin 3e ings command. These are discussed in Chapter %Q. )n the Track Control Panel, click on the F4 Enab+e$Disab+e toggle button. Click again to reverse this.

0a&e #e curren *rac& F4 #e defau+ for ne% rac&s Re rieve an e1is ing previous+y saved F4 5#ain Coad your defau+ F4 5#ain Access #e F4 Preferences se ings 2ypass a++ F4 for a rac&

!."4

5rea ing a Defau+ F4 5#ain

)f you have used other D(: software such as Aonar, you might be used to having an 'C Plug>)n automatically inserted for you in every track. &'(P'& allows you to do this by creating a default F8 chain which is then automatically applied to every new track that you create. $f course, this default chain can contain any F8 that you wish. To do this, you simply follow this procedure $pen the F8 :indow for any track. (dd the F8 reEuired. :ith the F8 selected, right click and choose 3ave c#ain as defau+ for a++ ne% rac&s from the menu.

*ip: )f you switch the F8 to bypass mode before saving your F8 chain, then the F8 chain will be saved in bypass mode. This means that the F8 in your new tracks will not reEuire any CP, usage until such time as you open the F8 window and enable them.

E1a'p+e
)n this e+ample, we will create a default F8 chain that consists of &ea'C and &eaComp, both set to bypass mode. %. !. 1. 2. $pen any pro=ect file and add a new track at the end. :e will use this track to create our F8 chain. Click on the F4 button for this track to open the F8 :indow. )n the first ?leftB column of the (dd F8 window, click on 5oc&os. Aelect in turn, first ReaEO F5oc&osG and then Rea5o'p F5oc&osG. )n each case, either use the OI button to add the plug>in to the track F8 chain, or drag and drop them into the chain. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' 2%

Up and Running: A REAPER User Guide v 4.30

P. N. #. 3. Q. ake sure that both these F8 are unticked D this sets them to bypass. &ight click over one of the F8 and from the conte+t menu choose 3ave c#ain as defau+ for ne% rac&s. Close the F8 window. Iou can now e+it &'(P'& if you wish. There is no need to save the changes to the pro=ect file. &e>open &'(P'& and open any pro=ect file.

%". )nsert a new track anywhere you wish in this pro=ect file. %%. $pen the F8 window for your new tracks. Iou should see that the two plug>ins, &ea'C and &eaComp have already been inserted into this F8 bin, in bypass mode. *ip: )f you wish to make changes to the contents of your default F8 chain, simply repeat the process described above, this time with the changed set of plug>ins, or ?to remove itB with no plug>ins at all. *ip: )f you hold down the 5 r+ 3#if keys when opening a pro=ect file, the file will be opened with its F8 off line. This can be useful if you need to conserve CP,, or if there is a plug>in which might be causing problems.

!."?

Using an F4 2us

)f you have used other D(: software, or an analog ?tapeB recording and mi+ing desk, you are probably already familiar with the concept of a 2us. The e+act meaning of the term can have several variations, but most commonly ?and in this e+ampleB, a ;us is used to enable a number of tracks to share the same resource ?such as perhaps &everb or Chorus F8B. This saves on valuable computer resources such as CP,. For e+ample, instead of reEuiring multiple instances of the same F8 in perhaps three or four tracks or more, by using a ;us you can ensure that only one instance of the F8 is reEuired. <ote that when you use a ;us in this way The output of each track is still directed to the aster. )n addition, a copy of the signal from each track is directed to the F8 ;us. (t some stage, the output of the F8 ;us is then mi+ed back in with the original signal. Typically ?and in the e+ample shown hereB this is achieved by directing the output of the F8 ;us to the aster, although other more comple+ routing arrangements are also possible.

The ;us can be inserted anywhere in the pro=ect that you like. )n this e+ample, we will place it =ust after the last track. This e+ample uses the sample pro=ect file A++ *#roug# *#e 9ig# .RPP. $pen this file, then save a copy to a new name such as A++ *#roug# *#e 9ig# %i # 2us.RPP before embarking on this e+ample. )n this e+ample, we are going to create an F8 ;us and insert into that bus a Chorus effect. :e will then ensure that both of our guitar tracks use the chorus. Iou will see that &'(P'& is different from other audio software in that it makes no inherent distinction between a ;us and a Track. The difference is determined solely by how you use it. <otice that the illustration below shows that for a more pleasing sound, the guitar tracks have been panned somewhat to the left and right respectively.

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! E REAPER Pro6ec 2asics

*o 5rea e #e 2us and add #e F4 o i :
Aelect track 2 ?in the Track Control PanelB. To insert a new track either choose the *rac&; -nser 9e% *rac& command, or press 5 r+ ,* or double click in the vacant track control panel area beneath the last track. To name this new track, click in the area where the name is to go, type F4 2us then press En er. To insert the Chorus F8 into this bus, click on the busFs F4 button. From the list of plug>in types, select Sesusonic, then in the list of plug>ins double click on /3: Gui ar$5#orus. Close the ;us F8 window. Aelect the two guitar tracks in the TCP. &ight>click over the -O button for either of these tracks. From the conte+t menu, choose 3ends then *rac& ?: F4 2us.

*o 5rea e 3ends fro' #e %o gui ar rac&s o #e 2us:

<ote that for every send there is an eEuivalent receive, and vice versa. For e+ample, )f you now open the )$ &outing window for Track P you will see that it has two receives, one from each guitar track. Iou7ll learn more about &'(P'&7s routing later in this chapter ?&outing 'ssentialsB as well as in Chapter 2 and %P.

0a&ing Ad6us 'en s

:hen you now play the song, youFll probably find that thereFs more chorus on the guitar tracks than you would like. There are four main ways to ad=ust this. '+periment until you find what gives you the results you want%. !. 1. 2. (d=ust the chorus F8 parameters. )n this case, you could lower the amount of :et signal in the mi+. (d=ust the levels of one or both of the receives in the F8 bus routing window. Display the routing window for either guitar track and ad=ust the send levels for that track. (d=ust output volume fader for the track called F4 2us.

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Up and Running: A REAPER User Guide v 4.30

3peed *ips -n Order *o Do *#is ... *ogg+e on$off send fro' rac& o 0as er 5rea e a Juic& send on #e f+y fro' one rac& o ano #er. 3end a rac&8s ou pu direc #ard%are ou pu . o any Do *#is Kold A+ while clicking on )$ button. :orks with single track or multiple track selection. Drag and drop from -O button of send track to the track panel of receive track. This can also be done in the mi+er view. Aee Chapter %" for a description of the full range of options. &ight>click on )$ button and select (udio Kardware $utput then choose from sub>menu. This can be used with a track selection and is independent of the track7s master send status.

!."B

0oni oring F4 Perfor'ance

The various plug>ins that you have at your disposal can, if used wisely, help to bring your mi+es to life. The only downside is that they can impose Euite a heavy overload on your computerFs CP,. To help you overcome this problem, you can use the Perfor'ance 0e er to closely monitor your F8 in the following ways Iou can check how much CP, is being used by the F8 in your various tracks and in the master. Iou can disable and enable F8 chains for individual tracks, Euickly, easily and conveniently, all together in one place. Iou can toggle on and off the mute status for your tracks, again all in one convenient place.

To display the Performance eter, press 5 r+ A+ P, or use the Vie%; Perfor'ance 0e er command.

E1a'p+e
)n the e+ample shown ?rightB, you can see that our pro=ect F8 are using about %3J CP, overall, and that the aster track with 3 plug>ins is using almost P."J Iou might wish to e+amine this track more carefully, especially if your pro=ect was running closer to CP, capacity. The first thing you could do is to e+amine the F8 for this track, to enable you to identify e+actly what the F8 on this track are doing. To do this, =ust double click on the Track name or number in the Performance eter window. This will open the F8 chain for that track. This feature is especially useful if you have a large number of tracks in your pro=ect. Iou can use the Performance eter window to browse thru your pro=ect file, checking it track by track, without having to scroll or navigate thru Track Oiew. Iou can of course also toggle F8 ;ypass for any track, selection of tracks, or all tracks in the *rac& Vie% or 0i1er Vie%. The table below summarises these options. -n order o do #is : *ogg+e F4 2ypass On$Off for #a rac&. -n 0i1er or *rac& Vie%; do #is : Click the F8 ;ypass button for any track. Aelect a number of tracks ?Ctrl ClickB then click the F8 ;ypass button for any track in the selection. Kold Ctrl key while clicking F8 ;ypass button for any track.

*ogg+e F4 2ypass On$Off for a++ rac&s in #e se+ec ion. *ogg+e F4 2ypass On$Off for a++ rac&s.

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! E REAPER Pro6ec 2asics

)n addition, the Performance eter has two right click menus, each with a number of options. The first is accessed by right clicking in the track list area. -n order o do #is : Open F4 (indo% for #a rac&. -n #e Perfor'ance 0e er %indo% do #is : &ight click over any track, choose Ahow F8 Dialog &ight click over any track in selection, choose Toggle F8 ;ypass &ight click over any track, choose Toggle Track ute

*ogg+e F4 2ypass On$Off for a++ rac&s in #e se+ec ion. *ogg+e rac& 'u e for #a rac&

The other menu is used mostly to select what information you want shown in the window. &ight click anywhere in the main Performance eter area to display this. Iou can also use this menu to move the window to the docker. *ip: Iou can select several tracks D using 5 r+ 5+ic& D then right click over any of the selected track numbers in the Performance eter window to Toggle F8 bypass and.or Track ute status for all tracks in the selection. 9o e: Iou can find more information about the &'(P'& Performance eter in Aection %Q of this guide, Further Customi9ing &'(P'&.

!.">

3e+ec ions and Coops

$ften you will want to work with =ust a part of your pro=ect for a while. )n order to do this, first check the Op ions menu to see if Coop Poin s Cin&ed o *i'e 3e+ec ion is enabled. )f it is enabled ?tickedB then making a time selection and defining a loop are the same thing. )f it is disabled ?not tickedB then making a time selection and defining a loop become two different things. :hichever is the case, you can define your loop area by clicking and dragging along the timeline. Atop the playback at or near the point where you want your loop to begin ?or click your mouse in the background areaB to move the 'dit Cursor there. Place your mouse over the *i'e+ine ?=ust above the first trackB, then click and drag along the timeline, releasing the mouse to define the e+act area that you want to loop. The effect of this is illustrated above. <otice that the start and end of the loop are marked by two small triangles. )f when you attempt this, the selection snaps outwards to define a larger area than you want, then &'(P'& has snapping enabled. Anapping will be discussed in detail in Chapter N, but for now you can use the shortcut keys A+ 3 to toggle this feature on and off. *ip: To set the loop selection to match a media item, hold 5 r+ while you double click on that item. To set the time selection to match a media item, hold 3#if while you double>click on the item. <ow when you play the pro=ect, provided that the loop ?toggle repeatB icon on the transport bar has been engaged, it will replay over again the area selected for your Moop. This is known as the &epeat Function. )f loop points are linked to time selection, the start time, finish time and duration of the selection are also shown on the *ranspor 2ar. )n any event, pressing the R key toggles this &epeat Function on and off. There is also the option ?under Op ions; Preferences on the P+aybac& pageB to stop playback at the end of a loop when the &epeat Function is disabled. To change the region defined as your loop, simply repeat the original procedure. To clear the loop altogether, without defining a new one, =ust press the Escape key. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' 2P

Up and Running: A REAPER User Guide v 4.30

)f loop points are not linked to the time selection, then you can define a time selection by clicking and dragging in the space underneath or between the media items, in the track background area. (n e+ample of this is shown below. &ight clicking on the Timeline gives you a menu of commands which you can apply to a time selection, including Poo' 3e+ec ion. Iou can also use this menu to change the units used on the timeline D for e+ample, inutes, easures, Aeconds and Aamples. any of these commands are shown in the illustration ?rightB > enough to help you to understand how important working with time selections is in &'(P'&. The other commands on this menu will be discussed elsewhere in this ,ser Huide, as the need arises. These are features that you are likely to find useful when editing your files. )ncidentally, to 9oom out of a time selection and restore a whole pro=ect length to view, press 5 r+ PgDo%n. There7s more about loops and time selections elsewhere in this ,ser Huide, e.g. in Chapters N and 3.

!."@

0anaging *i'e and Coop 3e+ec ions

)n the previous section you learnt how to click and drag within an empty area of the track view to define a time selection. This may or may not also change the loop selection, depending on your Op ions; Coop poin s +in&ed o i'e se+ec ion setting. (s you progress thru this ,ser Huide, you will see that time selection plays an important role in &'(P'&, for e+ample when it comes to editing your media items. IouFll probably find at first that itFs too easy to perhaps select too large an area, or to miss part of the area that you intended to select. *o 'odify a +oop se+ec ion using the mouse, hover the mouse over the edge at the start or finish of the loop selection on the time line, then click and drag left or right. Dragging left from the start of the selected area e+tends the selection left, dragging right shortens it. Dragging right from the finish of the selected area e+tends it to the right, dragging left shortens it. Kolding 5 r+ while you do this will ensure that any active snap settings are ignored. *o 'ove a +oop se+ec ion, hold the mouse over the selected area on the time line, then hold down 3#if while clicking and dragging the mouse left or right. Iou can also modify a time selection by scrolling the mousewheel over the Aelection area of the *ranspor 2ar. Acroll over the start area to ad=ust start time, end area to ad=ust end time, or over the length of selection area to move the entire selection. )f you wish, you can enter actual times in the start and end time bo+es. There are also several keyboard shortcuts you can use for managing *i'e 3e+ec ions, summarised below. )f loop points are linked to the time selection, then the loop area will also be modified.

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! E REAPER Pro6ec 2asics

Func ion 9udge En ire *i'e 3e+ec ion +ef a +i +e. 9udge En ire *i'e 3e+ec ion rig# a +i +e. E1 end *i'e 3e+ec ion o +ef by nudging +ef edge +ef a +i +e. 3#rin& *i'e 3e+ec ion o rig# by nudging +ef edge rig# a +i +e. 3#rin& *i'e 3e+ec ion fro' rig# by nudging rig# edge +ef a +i +e. E1 end *i'e 3e+ec ion fro' +ef by nudging rig# edge rig# a +i +e. 0ove *i'e 3e+ec ion +ef by i'e se+ec ion +eng #. 0ove *i'e 3e+ec ion rig# by i'e se+ec ion +eng #. 5opy por ions of se+ec ed 'edia i e's in *i'e 3e+ec ion. Re'ove *i'e 3e+ec ion. Ieys ro&e ; Fco''aG . Fperiod or fu++ s opG 5 r+ ; 5 r+ . 5 r+ A+ ; 5 r+ A+ . 3#if ; 3#if . 5 r+ 3#if 5 Esc

)f you wish, you can use the keyboard rather than the mouse to define your time selections. First you need to position the cursor at either the start or the end of the loop, then use one of theseFunc ion Drag cursor o #e +ef and crea e i'e se+ec ion. Drag cursor o #e rig# and crea e i'e se+ec ion. Ieys ro&e 3#if Cef Arro% 3#if Rig# Arro%

The following keystrokes can be used to 9oom when you are working with a time selectionFunc ion Poo' o *i'e 3e+ec ion. Poo' bac& o Pro6ec . Ieys ro&e 5 r+ PageUp 5 r+ PageDo%n

*ip: )f you are unable to position your cursor e+actly where you wish when creating a loop selection, it may be that you have snapping enabled. A+ 3 will toggle snapping status on and off.

!."A

*i'e and Coop 3e+ec ions and #e *ranspor 2ar

: you s#ou+d do #is ake the reEuired loop selection, make sure Repea is enabled ?the button ne+t to Play on the Transport ;arB, position the play cursor within the loop and press 3pace. ake the reEuired time selection and position the play cursor anywhere before the start of that selection. Press A+ 3pace.

There are two special ways in which the transport bar can be used with a loop selection or a time selection. -n order o do #is ... Repea ed+y p+ay #e se+ec ion over and over P+ay bac& pro6ec s&ipping over i'e se+ec ion

!.!0

9aviga ing by /u'ping

Iou can =ump to any point on the timeline using the Vie%; Go *o; /u'p *o command, or by using the keyboard shortcut 5 r+ /. )n specifying the place to =ump to, you should use the same format as is used on the timeline. )n the e+ample used here, the timeline displays easures and below it inutes and Aeconds. Iou could therefore use either format, e.g. 33." or ":04. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' 2#

Up and Running: A REAPER User Guide v 4.30

!.!" - e' 9a'es; 2u ons and -cons

Depending on Appearance; 0edia preference settings, you may ?or may notB see your item names displayed above the media item rather than on it ?see rightB. Iou might also see some media item icons ?or buttonsB. Iou7ll learn more about this when we e+amine media items more closely in Chapter N.

!.!!

REAPER Rou ing Essen ia+s

This section will teach you more about one of the most important core functions of &'(P'& D Rou ing. &outing is the means by which you ensure that your media ?audio and.or )D)B are directed to where you want them to go, so that your pro=ect can be heard e+actly as you want it to be heard. Iou were introduced to some basic e+amples earlier in this chapter, when we looked at creating and using an F8 bus. &outing can be very simple or e+tremely comple+ D and anything in between. This section introduces you to basic routing concepts. ore comple+ routing options will be covered later in this Chapter, also in Chapters 2 and %P, and elsewhere. 'ach track includes an -O 2u on in its panel toolbar. Clicking that button causes the routing window for that track to be displayed. To close the track routing window, either press the Escape key, or click on the little 4 in the top right corner of the window, or click anywhere outside the window. The actual contents of your Track &outing window will vary according to your pro=ect structure and your D(: hardware setup ?e.g. sound card and audio devices, )D) devices etc.B. Depending on the nature of your pro=ect, your display should be similar to that shown above, but not necessarily identical. <otice in particular 0as er$Paren 3end D 'nabling this ensures that the trackFs output will be directed to the aster. )n the sample files provided, you will want to direct the output of all tracks directly to the aster, as shown for Track % ?belowB. )f in doubt, leave this item enabled. 3ends D )n the F8 ;us e+ample earlier in this chapter you created sends. ( track7s output can be routed via a send from any track to any other track or tracks. This topic will be covered in more detail later. Audio )ard%are Ou pu s D in addition to ?or instead ofB directing output to your aster ;us, you can also direct output of any track directly to Kardware $utputs on your audio device. )f your audio device has multiple outputs, this can be useful, for e+ample, for creating a separate headphone mi+, or as series of separate headphone mi+es. 0-D- )ard%are Ou pu D ,se this option to direct )D) output to an e+ternal device or to the icrosoft HA :avetable Aynth. Receives D For every send ?sourceB track there will be a receive ?destinationB track. )n the earlier e+ample, the F8 bus included two receives, one from each of the two guitar tracks in that pro=ect file.

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! E REAPER Pro6ec 2asics

<otice ?picture belowB that when you create a send, you are presented with volume and pan faders which can be used to control this. Iou can also specify whether to send audio output, )D) output, or both. :henever you select any listed track, audio hardware output or )D) device to be used for a trackFs routing, controls such as Mevel and Pan are automatically added to this interface.

:hen you create a new pro=ect, by default the output of each new track is routed to the aster track and from there to the output of your sound card. )f that is all you need, you do not need to study the routing options right now. Kowever, understanding &'(P'&Fs routing capabilities will almost certainly enable you at some stage to get more benefits from the program. The illustration below shows an e+ample of the Track &outing :indow for a track for which both sends and receives have been created. Iou will be shown how to do this later in this ,ser Huide, starting at Chapter 2. (pproach track routing gently at first- it is a very powerful feature of &'(P'&. The main body of this ,ser Huide will take you thru the basics of track routing. (fter you have mastered these, you will find some rather more comple+ e+amples elsewhere in this ,ser Huide, especially in Chapter %P. 9o e: Aends and &eceives can be any of three types. These are Pos Fader FPos PanG, PreEFader FPos F4G and Pre F4. The differences will be discussed in Chapter %P. eanwhile, if in doubt accept the default option Pos EFader FPos PanG. Aee also the flow charts that are shown at the end of Chapter P.

!.!3

*#e Rou ing 0a ri1

&'(P'&7s &outing atri+ is a 4one stop5 window where you can manage and arrange a pro=ect7s entire routing structures. For e+ample, you can add and delete sends and receives and manage their various parameter controls, such as volume and pan. Press A+ R to display the routing matri+. For the pro=ect file A++ *#roug# *#e 9ig# %i # 2us it should resemble that shown right- of course your hardware outputs will not be the same.

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Up and Running: A REAPER User Guide v 4.30

$bserve the cell in the matri+ where the G r 2ody row intersects with the F4 2us column. )t contains two small blobs. ;y right clicking over this cell, you can cause the controls to be displayed which determine how the signal from the Htr <eck track is sent to the F8 ;us ?see illustration aboveB. 3i'p+ifying #e Rou ing 0a ri1 Disp+ay )f your sound card has multiple outputs, then by default, &'(P'&Fs &outing atri+ will display multiple permutations of paired outputs, including several that you may feel that you do not need. ;y default &'(P'& will allow you to use any two consecutively numbered audio outputs as a stereo pair. )t is Euite likely that you may want to use, for e+ample, outputs % and ! as one pair ?perhaps for your speakersB and outputs 1 and 2 as another pair ?perhaps for your headphone ampB. Kowever, it would be unusual to want to use outputs ! and 1 together as a pair. )f you wish, you can prevent these unwanted combinations from being displayed by choosing the Op ions; Preferences command, then selecting the Audio settings page. This includes a 5#anne+ na'ing section, where you can turn off the option to 3#o% nonEs andard s ereo c#anne+ pairs ?see rightB. )f for some reason you did wish to direct your output to any non>standard pair, you could still do so by selecting each of them individually on the matri+.

!.!4

Doc&ing and F+oa ing

Too many views on the screen at once creates clutter. ThatFs when the Docker becomes useful. &ight clicking over the title bar or background area of most windows causes a conte+t menu to be displayed which will offer a list of choices relevant to that window. ,sually their purpose will be obvious. This will include an option Doc& in Doc&er. :hen a number of windows are docked, at the foot of the Docker you will see a series of Tabs. These are used to select which item is displayed by the Docker at any time. )n the illustration here, the Docker includes several items. <otice also that )f you close a :indow, ne+t time it opens its docking status will be the same as when it was closed. )f a :indow is docked when it is closed, ne+t time it is opened it will still be docked. To undock a window, right click over the background or tab area of the window and deselect the Doc& in Doc&er option. The Docker can itself be attached to the main window or detached and floated. Click over the small e+clamation mark in the bottom left corner of the Docker and use the option to A ac# Doc&er o 0ain (indo% to toggle. ;y default the docker will be attached to the bottom of the main window, but you can use the same menu to change this position to left, top or right. Clicking over the e+clamation mark after detaching the Docker from the ain enu will also give you access to the 3e Opaci y feature. This can be used to ensure that when floated and not in focus, the Docker is transparent. $pacity can be set between !PJ and %""J.

*ip: The keyboard shortcut A+ D can be used as a toggle to show or hide the Docker or Dockers.

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! E REAPER Pro6ec 2asics

ore e+perienced users might be interested to know that if you wish you can work with multiple dockers. This topic is covered in Chapter %%, Pro=ect anagement Features. (s an alternative to docking windows, you might consider the toggle command Vie%; 3#o%$#ide a++ f+oa ing %indo%s as a method of handling screen clutter. (nother useful command can be Vie%; 5ascade a++ f+oa ing %indo%s.

!.!?

*#e Undo )is ory (indo%

&'(P'&Fs ,ndo feature is user friendly and very powerful. The Vie%; Undo )is ory command ?or use 5 r+ A+ PG toggles open and closed the Undo )is ory (indo%. Iou can double click on any event displayed in that window to go back to that point. The Genera+ settings page under Op ions; Preferences includes a section which you can use to determine the behavior of the ,ndo Kistory. )n particular, you can Apecify the ma+imum amount of memory to be allocated to ,ndo. Aetting this to 9ero will effectively disable this feature. Apecify whether item selection and.or time selection and.or edit cursor movements are to be included in the ,ndo Kistory. 'nsure that if the allocated ,ndo storage area becomes full, the most recent actions will be retained in the ,ndo Kistory. 3ave your Undo )is ory %i # #e Pro6ec Fi+e and ensure that this file is loaded with the pro=ect. This means that even after retrieving the pro=ect file at some later date, you will still be able to revert the pro=ect to an earlier state if you wish. 3 ore 'u+ ip+e undo$redo pa #s. :ithin the ,ndo Kistory window you can even store alternate seEuences of commands and actions, then switch between them* *ip- $n the Appearance page of your Preferences settings, you can enable or disable the option 3#o% +as undo poin in 'enu bar. )f you enable this, your last undoable action is shown after the last command on the menu bar. Iou can click on this at any time to open and display the ,ndo Kistory window. Click a second time to close this window. <ote also that the ,ndo Kistory window is dockable. To do this ?as with most other windowsB, right>click on the title bar and choose Doc& in Doc&er from the conte+t menu.

!.!B

Ieeping a (indo% on *op

The small pin shown on the right of the title bar of most windows ?=ust before the 4B can be used to pin a window to keep it on top. Click on this to toggle its on top status. :hen the pin is shown in the down position, the window is locked on top. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' P%

Up and Running: A REAPER User Guide v 4.30

!.!> 0u+ ip+e Pro6ec *abs

&'(P'& lets you keep more than one pro=ect open at the same time, using multiple pro=ect tabs. This makes it easy for you to =ump between different pro=ects if you are working on more than one song, or to move or copy media items ?audio and.or )D)B from one pro=ect to another. To create a new pro=ect tab when you already have one file open, simply use the Fi+e; 9e% Pro6ec *ab command ?or press 5 r+ A+ 9B. ( new tab will be opened ?labelled UnsavedB, but the previous pro=ect will also remain open on a different tab. Iou can =ump between pro=ects simply clicking on the tab ?see belowB. To open a file in a particular pro=ect tab, simply select that tab, then use the Fi+e; Open Pro6ec command in the usual way. To open it in a new pro=ect tab, simply select this option from the dialog bo+ when opening the pro=ect. Iou may have as many pro=ects open as you wish ?see belowB. Iou can right click over any pro=ect tab to show the pro=ect tab menu. The commands are9e% Pro6ec *ab, This inserts another new tab. 5+ose 5urren Pro6ec . Closes the pro=ect currently open in that tab, and the tab with it. Iou can also do this by simply clicking on the 4 at the right hand end of the pro=ect tab. A+%ays 3#o% Pro6ec *abs. This toggle command can be used to show pro=ect tabs, even if only one pro=ect is currently open. )ide 2ac&ground Pro6ec F4$0-D- (indo%s. 'nsures that when one of a number of open pro=ect tabs is selected, any open F8 windows and the like belonging to other open pro=ects are not displayed on top of it. Run 2ac&ground Pro6ec s. This allows you to play the pro=ect in one tab while working on another. Run 3 opped 2ac&ground Pro6ec s. Commences playback of pro=ects in tabs not currently selected. Off+ine 2ac&ground Pro6ec 0edia. This sets to offline the status of media items in all tabs other than whichever is currently active. *ips: :hen working with multiple pro=ect tabs, they can be reordered using drag and drop. :hen using multiple pro=ect tabs, you can use the Fi+e; 5+ose A++ Pro6ec s command to close all open pro=ects at once.

!.!@

0anaging #e P+ay 5ursor

;y default, when a pro=ect is playing, pressing 3 op ?or 3pacebarG will stop playback and return the play cursor to its previous starting position. Pressing Pause ?or En erB will pause playback at the current play cursor position. Iou can also specify that the play cursor should be moved when you click on the Time &uler, an empty area of any track or in the empty area below tracks. These three options can be enabled.disabled in your 3ee& p+aybac& %#en c+ic&ed. ?Op ions; Preferences; Audio; 3ee&ing settingsB.

!.!A

Ieyboard 3#or cu and 0ouse Defau+ s

Iou can use the command )e+p; )*0C Cis s Fau oEgenera edG; 0ouse 0odifier Ieys and Ac ion 3#or cu s ?or =ust press 3#if KF"B to open your default web browser with a complete list of &'(P'&7s mouse modifiers and keyboard shortcuts. (s you will see in Chapter %1, you can also define your own mouse modifiers, keyboard shortcuts and action keys, so that your mouse behavior will be determined by the conte+t in which you are using it.

,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. P!

3 E Recording %i # REAPER 3 Recording %i # REAPER

This chapter will take you thru everything you need to know to get started with recording in &'(P'&. (t the end of the chapter, you will find a helpful checklist.

3."

5rea ing a 9e% Pro6ec

To create a new pro=ect file, you can either use the Fi+e; 9e% Pro6ec command, or press 5 r+ 9. The Pro6ec page within the Op ions; Preferences dialog bo+ can be used to determine how &'(P'& behaves each time you create a new pro=ect-

(mongst the most useful options on this screen are the following 3pecify a e'p+a e fi+e for pro6ec . This enables you to create a pro=ect with, for e+ample, tracks, buses and routing already set up for you in your preferred fashion. This feature will be covered in detail later in this section. Pro'p o save on ne% pro6ec . )f you enable this option, you will be prompted to save your new pro=ects immediately they are created. Open proper ies on ne% pro6ec . )f this option is selected, the Pro6ec Op ions dialog bo+ will automatically be displayed every time you create a new pro=ect. This can help ensure that you select the correct recording format and other settings that you reEuire. Au o'a ica++y crea e a bac&up eac# i'e your fi+e is saved and over%ri en. This helps protect you against accidental loss of work. :hether to create and save 'u+ ip+e pro6ec versions. This feature is e+plained in Chapter %%. Au o'a ica++y save o a i'es a'ped fi+e a in erva+s you specify . This can help to protect you from the conseEuences of an unforeseen circumstance such as a power outage or a computer crash.

For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' P1

Up and Running: A REAPER User Guide v 4.30

3.! 3e ing 0edia Pro6ec Op ions
(fter creating a pro=ect file, you should display the Pro6ec 3e ings window D A+ En er D to ensure that you are using your preferred 0edia 3e ings. )n particular you should select your preferred audio format. )f you are not sure which to choose, select .(AV; with settings similar to those shown here. These will give you good audio Euality. )f you wish later to use some other format ?such as .0P3B you can render your files in that format. (AV for'a . Auitable if your recording is intended ultimately to be published as (udio CD or DOD. The settings shown on the left would make a sensible choice when the final output is to be CD audio. (s a rule, !2 bit is preferred for recording. )f the recording is to be finalised in DOD format rather than CD, however, you should select a sample rate of 23""" instead of 22%"". This is specified on the main Pro6ec 3e ings page. Aome people prefer to use 33!"" for CD and QN""" for DOD. Provided your sound card can handle it, &'(P'& lets you do this. Kowever, increasing sample rate also increases media item file si9e and slows down processing. O #er for'a s. )f you prefer, you can record using any of a number of available compressed formats, including P1, $HH and :avPack. Choosing any of these will present you with further options appropriate to that format. For e+ample, if you choose P1 you will need also to specify your reEuired bitrate.

3.3

3aving #e Pro6ec Fi+e

(fter creating a file, it is a good idea to save it, using the Fi+e; 3ave Pro6ec command, or the keyboard shortcut 5 r+ 3. Iou will need to specify a name for your pro=ect file. :hen you first save a file you are offered a number of options ?see rightB. )f you select the options to 5rea e subdirec ory for pro6ec and 0ove a++ 'edia in o pro6ec direc ory , the pro=ect and all its media files will automatically be saved into their own folder. Iou should also make sure that you get into the habit of freEuently resaving your pro=ect after making changes. The easiest way to do this is simply to press 5 r+ 3.

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3 E Recording %i # REAPER
3.4 5rea ing and 9a'ing *rac&s

(fter creating a new pro=ect file, the ne+t thing you will want to do is to create a track or a number of tracks for recording. ( pro=ect can contain as many or as few tracks as you want. Iou can add tracks using the *rac&; -nser 9e% *rac& command or by pressing 5 r+ *. (lternatively, you can simply double>click anywhere in the vacant area of the Track Control Panel. )t is advisable to name the tracks before you start recording. To do this, double>click in the track name area and type the name. The media file that is created when you record will then be given a sensible name that matches the track. ,nder Op ions; Preferences you can display the Recording settings page and decide which items are automatically included in your trackFs file names. These can be any combination of track inde+ ?numberB, track name, and the time of the recording. :e7ll look at more of these recording preferences later in this chapter. &'(P'& supports multitrack recording. The number of different sources that you can record at the same time is limited by the number of enabled inputs ?under Preferences, (udio, DeviceB on your audio soundcard. ;efore commencing recording, for each track you will need to (rm the track for recording. &'(P'&7s Preferences include a page (ssign the )nput that is being used. of *rac&$3end defaults which you can Check that the sound level is right for recording. use to set track default characteristics ?e.g. default volume fader levelB.These $ptionally, you may alsoare e+plained in Chapter %Q. Aelect a recording format other than the default. Turn input monitoring on. 9o e: Iou do not need to specify when creating a track whether it is to be a stereo or mono track. :hen assigning the track input for recording, you can use either a single mono input or a stereo pair. <ote that both stereo and mono tracks can be panned between the left and right speakers as you wish. Panning is a topic that occurs throughout this guide, for e+ample in Chapter 2.

3.?

*o Prepare and Record One *rac&

%. Check the Op ions menu to make sure that Record 'ode: 9or'a+ is selected. :e7ll e+amine the other modes as this chapter progresses. !. Click on the Record Ar' button for that track ?on the leftB The button should now appear red. 1. Click the mouse over the -npu se ings for that track ?below the volume fader > see rightB to display a menu. The e+act options on that menu will depend on which sound card and audio device?sB you have installed. 2. Aelect the reEuired input from the menu. This will be the one to which the microphone or line that you are using for recording is connected. )n most cases, this is likely to be one of the -npu : 0ono options. )f you are not sure which option to pick, choose 0ono when recording from a single microphone or lead. P. 'nable -npu 0oni oring D this is the first option ?0oni or -npu B on both the Record ar' button and -npu se ings right>click conte+t menus, or you can use the toggle Record 'oni oring button shown here ?rightB. The e+act location of this button on the TCP may vary according to your choice of layout and the TCP column width. )f your sound card supports direct monitoring you will most likely wish to use that, in which case you should not enable &'(P'&7s input monitoring. Consult the sound card7s documentation for more information about this. )f your sound card does not For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' PP

Up and Running: A REAPER User Guide v 4.30

support direct monitoring, then you should enable &'(P'&7s input monitoring. There7s more about input monitoring in section 1.%N. (udition the sound while you ad=ust the volume on your audio desk or sound input device, so as to get a good strong signal without clipping. )f in doubt, aim to peak at about D%"d;. <ote that the recording level cannot be controlled by ad=usting the TrackFs volume fader- that controls only the playback level. Press the Record button on the *ranspor , or use the keyboard shortcut 5 r+ R. To finish recording, either press 3 op on the Transport, or press 3pace; or press the Record button again, or press 5 r+ R. <ow click on the Record Ar' button for this track to 4disarm5 it. The )nput menu ?shown aboveB includes an item -npu : 9one. This can be used to prevent material from being accidentally recorded onto a track where it is not wanted, such as perhaps an F8 bus or a folder.

N.

#. 3. *ip: ever

9o e ")f you stop recording by pressing the Record button or with 5 r+ R, the recorded media are automatically saved. )f you press 3pace or 3 op, a dialog bo+ will be displayed giving you the opportunity to save or delete any of your recordings ?see rightB. This can be useful, for e+ample, if you have armed and recorded more tracks than you intended. Iou can also rename the media file. This can be useful, for e+ample, if you forgot to name the track before recording. 9o e !&'(P'& supports 4on the fly recording5. This means that you can also arm additional tracks after the recording has started. Those tracks will then also be recorded from the point at which you arm them. Aimilarly, if you are recording more than one track, you can stop recording one while continuing to record the others by clicking on the Record Ar'$Disar' button to disarm =ust that track. *ip: :hen recording, make sure that the incoming signal is not too loud, or you can damage your recording eEuipment. KereFs what to do%. Turn the input or gain control on your input device ?e.g. firewire device or deskB all the way do%n. !. )f recording an instrument in>line, insert one end of the line into the instrument and the other end into your input device. Turn the output on the instrument fully up 1. (udition the instrument, slowly raising the input or gain control on your input device until it sounds right.

3.B

*o Prepare and Record 0u+ ip+e *rac&s

To prepare multiple tracks for recording you could repeat all of the necessary steps as many times as you reEuire tracks, but that might be tedious D and besides, itFs too easy to make a mistake when selecting your audio inputs. Iou could end up with one input being recorded more than once, and perhaps another input being accidentally missed out. This is something that, at one time or another, is likely to happen with most D(: software. To avoid this problem, you can follow this seEuence%. ,se the -nser ; 0u+ ip+e rac&s command to insert as many tracks as you reEuire. Apecify the number of tracks reEuired, then click OI. <ame your new tracks. !. Aelect all tracks to be recorded. (fter making your selection, click on the Record Ar' button of any one of them to arm the entire selection. ,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. PN

3 E Recording %i # REAPER
1. $ne method is to use the Rou ing atri+. Press A+ R to display this. )n this e+ample, four tracks are to be recorded at the same time. ;y default, all four tracks are at first assigned to the first input ?aboveB. )f you were to record now, the same signal from the first input would be recorded four times* ?<otice also that by default, input % is also assigned to track P > the F8 bus > but as this is not armed nothing will be recorded there.B 2. Click in the appropriate cells in the &outing atri+ to assign each track an input. )n this e+ample ?rightB, we are assuming that )nput % is to go to Track %, )nput ! to Track !. )nput 1 to Track 1, and so on. P. onitor the strength of the signals and record as before. *ips: Using #e *rac& 5on ro+ Pane+ o prepare 'u+ ip+e rac&s (nother option is to use the TCP to set up and record your tracks. %. To define the same record settings for multiple tracks, select the reEuired tracks, right>click on the arm record button, then make your choices from the menu. Kolding 3#if will over>ride this and apply your menu choices to the one track only. )nputs can be assigned to a selection of tracks in a similar way by clicking on the -npu button. !. To assign a series of mono inputs in seEuence to a set of tracks, select the tracks then click the -npu button of any track in the selection. <e+t, select Assign inpu s seJuen ia++y then your reEuired inputs D e.g. in the above e+ample, this would be 0ono, -npu " o -npu 4. 1. To insert a new track at the end of your pro=ect, you can simply double click in the Track Control Panel area, =ust below the last e+isting track.

3.>

Au o Ar'ing *rac&s

)f you wish, you can ensure that tracks are automatically armed for recording when selected and unarmed when deselected. Aimply select the track?sB then right click over the record arm button for any track in the selection and choose Au o'a ic record ar' %#en rac& se+ec ed. This command can be toggled on and off. To set all tracks in a pro=ect to auto arm, choose the *rac& command from the main menu, then 3e a++ rac&s o au o'a ic record ar' %#en se+ec ed.

3.@

Using #e 0e rono'e

Iou can set up and use a etronome when using &'(P'& for recording. To do this, you need first to right>click on the metronome button on toolbar, or the use the Op ions; 0e rono'e$PreEro++; 0e rono'e$ PreE Ro++ 3e ings command to set up your metronome. Meft>clicking on the metronome button, or choosing the Op ions; 0e rono'e$PreEro++; 0e rono'e Enab+ed command from the main menu, is then used to toggle the metronome on.off.

*#e 0e rono'e 3e ings

Enab+e 0e rono'e: This turns the built>in metronome on or off. *#e -O 2u on- )mmediately to the right of the 'nable etronome option, this allows metronome output to be directed to the device of your choice ?e.g., KeadphonesB. Run During P+aybac&: This will turn the metronome on during playback. 5oun Ein before p+aybac& : This will enable a count>in before playback. Run During Recording- This will turn the metronome on during recording. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' P#

Up and Running: A REAPER User Guide v 4.30

5oun E-n During Recording: This will enable a count>in before recording. ,seful if you are recording yourself. )t ensures that when you press 5 r+ R the recording will not actually start until after the specified count>in. This gives you time to get back to the microphone and pick up your instrument. 5oun E-n Ceng # F0easuresG: This defines the number of measures a count in should be. )f it is the very beginning of a pro=ect, it will wait those number of measures before starting to record. )f you select a place to record within a pro=ect, it will start the count in this many measures before the time that you want to record at. 0e rono'e Vo+u'e: etronome Oolume > This is the overall volume of the metronome. 3econdary 2ea Gain:> This, in relation to the overall volume, is the amount by which the volume of secondary beats will be ad=usted. Iou can also use Aamples for your own metronome sounds. Firs 2ea 3a'p+e: This is the sample for the first beat D e.g., in 2.2 time, this sample will play on the %. 3ubseJuen 2ea : This is the sample for other beats. For e+ample, in 2.2 time, this sample will play on the !, 1, and 2. )f you wish to have your samples used for the metronome in all your pro=ect you will need to set up the samples, save the pro=ect and a template ?with any other pro=ect setting you think may be usefulB then, in Preferences.Pro=ect specify that pro=ect as the default template to use for all new pro=ects. ;y default, &'(P'& uses a synthesised metronome. Iou can specify in K9 the FreJuency of firs bea and of 3ubseJuen bea s. 2ea 5+ic& Ceng # 11 's- This is how long each beat click lasts. 3 ar s#ape- This can be hard ?louderB or soft ?EuieterB. The Pre Ro++ settings can be used so that when you start recording, or playback, the metronome will play for the specified number of measures before recording or playback actually begins. *ip: The etronome Time ;ase is controlled by the Pro6ec 3e ings. Press A+ En er and display the Pro6ec 3e ings page if you need to change this.

3.A

Recording 3 ereo *rac&s

(t times you may wish to record from two inputs direct to a stereo track. This might be the case, for e+ample, if you are uploading some previously recorded material from audio tape into &'(P'&, or recording perhaps a piano with stereo paired microphones. To do this, follow a similar procedure to that e+plained in section 1.P, selecting a stereo input instead of mono. The signal from paired stereo inputs can be recorded on to a single stereo item on a single track. (s has already e+plained in Chapter !, it is advisable to open the (udio page of your Preferences settings and turn off the option to 3#o% 9onE3 andard 3 ereo 5#anne+ Pairs . This will reduce your available stereo paired inputs from a list such as that shown above to a more logical selection such as that shown above.

3."0

0u+ iE5#anne+ Recording

This is a more advanced topic, less suitable for novices. )f you define a track as multichannel ?for e+ample, perhaps 2, N or 3 channelsB then your recording input conte+t menu for that track will include an option for multichannel recording. Iou can, for e+ample, record from four, si+ or eight microphones simultaneously, each to a separate channel on the one track. This method is suited, for e+ample, for use with four channel ambisonic microphone arrays as used in surround sound production.

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3 E Recording %i # REAPER
For multichannel tracks, there is also a toggle command on the record arm conte+t menu *rac& VU 'e er, 3#o% pea&s fro' a++ rac& c#anne+s Fno 6us "K!G.

3.""

*rac& *e'p+a es

(fter you have set up a track ?or a number of tracksB for recording, you might think that you may wish to use this same track e+actly as it is again in some future pro=ects. This can be done using *rac& *e'p+a es.

*o crea e a rac& e'p+a e fro' an e1is ing rac& For se+ec ion of rac&sG:
%. Aelect the track or tracks. !. Choose the *rac&; 3ave rac&s as rac& e'p+a e command. 1. :hen prompted, type a template name. )f you wish, you can select the option to -nc+ude rac& i e's in #e e'p+a e. )f so, any audio and )D) items on the track will be included. Iou may also choose to -nc+ude enve+opes in e'p+a e. ?'nvelopes will be e+plained in Chapter %NB. 2. Click on 3ave.

*o i'por an e1is ing rac& e'p+a e in o a pro6ec :

%. From the &'(P'& menu, choose the *rac&; -nser rac& fro' e'p+a e command. !. Depending on how your templates are stored, either select the reEuired template from the menu, or choose Open e'p+a e; then choose the reEuired template and click on Open. The -nser rac& fro' e'p+a e sub>menu includes an option to Offse e'p+a e i e's by edi cursor . )f enabled, any media items and.or envelopes saved with the original template will be inserted at the current edit cursor position.

9o e: Track properties and settings are saved into the template, including track name, inputs and outputs, any
F8 plug>ins ?with any parameter settings, parameter modulation, and track controlsB, sends and receives. Kowever, if a track included in a track template includes any sends to or receives from any track or tracks not included in the template, then these sends and receives will not be saved into the track template.

3."!

-'por ing an E1is ing Pro6ec

The *rac&; -nser *rac& fro' *e'p+a e; Open *e'p+a e command can be used to import an entire &'(P'& pro=ect into your current pro=ect. (ll tracks in the original pro=ect file are imported D media items, track settings, F8, routing, etc. Kowever, items that are not track specific ?such as markersB are not imported. To do this, simply select Pro6ec Fi+es as the File Type when the Open *rac& *e'p+a e dialog bo+ is displayed, navigate to select the file you wish to import, then click on Open. The tracks from the imported pro=ect file are inserted immediately below the currently selected tracks.

3."3

Pro6ec *e'p+a es

( Pro=ect Template goes further than a Track Template in that it can be used to create an entire Pro=ect File, based upon the structure and settings of the template file. For e+ample, Pro=ect Aettings ?including edia AettingsB are saved with a pro=ect template, along with the screen layout, which views are open, how they are si9ed, whether they are docked, and so on. Kowever, unlike when creating a Track Template, you should remove the media clips and items from a file before saving it as a pro=ect template, otherwise every time the template is used to create a new file, those media items will be inserted. ?,nless, of course, there are media clips that you actually want saved into the templateB.

*o crea e a Pro6ec *e'p+a e:

:ith the source pro=ect file open, choose the Fi+e; Pro6ec *e'p+a es; 3ave As Pro6ec *e'p+a e command. :hen prompted, give the template a name, then click on 3ave. Choose the Fi+e; Pro6ec *e'p+a es command, then click on the name of the reEuired pro=ect template. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' PQ

*o crea e a ne% fi+e based on a Pro6ec *e'p+a e

Up and Running: A REAPER User Guide v 4.30

*o use an e1is ing fi+e as a e'p+a e for a++ ne% pro6ec s:
Choose the Op ions; Preferences command, then Pro6ec . Click on the 2ro%se button labeled 4:hen creating new pro=ects, use the following file as a template5. The contents of the pro=ect templates folder will be displayed. Aelect the reEuired file, then click on Open. Click on OI to close the Preferences window.

*ip: )f you are specifying a default pro=ect template it is a good idea to also save an empty pro=ect as a pro=ect template called E'p y Pro6ec . Then, if you want to create a new file that doesnFt use your default pro=ect template, you can do so by simply choosing from the menu Fi+e; Pro6ec *e'p+a es; E'p y Pro6ec .

3."4

Cayered Recording

The term layering refers to a recording techniEue in which two or more instruments and.or voices are recorded for the same song, but not all at once. ,sually, the tracks are recorded one at a time. (n initial track is laid down D this is often a guide track which will be discarded at the end of the recording process. Then each other track is recorded while the musician or singer listens thru headphones to a mi+ of what has already been recorded and what she is recording now. )n order to use this layered recording method%. :ith &ecord ode set to 9or'a+, record the initial track, as e+plained earlier. !. (fter recording, make sure the output of this track is directed to the aster. ake sure also that you 4disarm5 this track. 1. ake sure that the aster is directed to whichever hardware outputs are connected to your headphones or headphone amp. 2. (dd another track. <ame it. (rm this track for recording. Aelect the )nput used by the microphone or line that is to be used to record this new track. P. ake sure that Record: inpu Faudio or 0-D-G is selected and that -npu 0oni oring is turned on for this track ?see aboveB. This will enable the person being recorded and the recording engineer to hear in their headphones a mi+ of previously recorded material with that being recorded now. N. (d=ust the Oolume levels of the previously recorded track ?using the track faderB and the volume level of the incoming signal ?using your e+ternal mi+er desk or audio device, or audio device control softwareB until you are happy with your headphone mi+. #. Press 5 r+ R to start recording, and 5 r+ R again to stop when finished. (gain, disarm this track when you have finished recording on it. 3. &epeat this procedure for all other tracks to be layered. (t step N. you can feed into your aster a mi+ of all tracks previously recorded up to that point. 9o e: )f you notice an echo type delay in your headphones it will be because latency is too high. Mowering the block si9e ?see %.%!B to !PN or %!3 can improve this. $n consumer Euality built in sound cards, however, this might cause pops and clicks. For :indows users, the use of (A)$2(MM drivers might resolve this. *ip: any sound cards and ,A; or Firewire audio devices come with software that can be used for 9ero latency input monitoring and headphone mi+ing, especially those devices with multiple inputs and outputs. )f you use that software for input monitoring, then you should turn off the input monitoring option within &'(P'&. *ry i no%. $pen the supplied pro=ect file A++ *#roug# *#e 9ig# .RPP and save it as A++ *#roug# *#e 9ig# CA,ER3.RPP. Kave a go at recording another instrumental track of your choice to go into this pro=ect > any instrument you choose* 9o e: 0oni or -npu F*ape Au o 3 y+eG. This option differs from normal input monitoring in that it monitors input only when the transport has stopped or when you are recording. During playback you will hear only the timeline audio, not the input.

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3 E Recording %i # REAPER
3."? Overdubbing and Punc# Recording

Iou can go over an e+isting track to re>record a section with which you are not satisfied, to correct perhaps =ust a few notes of an instrument, or a line or two of a vocal. ,se punch recording for this. Iou can play back in your headphones previously recorded material along with any other tracks while you record. (t the point where you want recording to begin, the track on which you are recording will cut out, and the recording will begin. (t another point specified by you, the recording will stop, and the e+isting recording will come back in. The techniEue can be applied with both audio and )D) items. )D) is discussed later in this chapter when +ooped i'e se+ec ion recording is also e+plained.

3."B

9onEDes ruc ive Punc# Recording

;y default, punch recording is not destructive- it creates a new take, but does not destroy the original. To use punch recording, follow this seEuence%. Choose the Op ions command, then Record 'ode: i'e se+ec ion au o punc#. The display of the Transport ;ar record button will change. Disable the Toggle &epeat function on this toolbar. !. Aelect the track and arm it for recording. Oiew the Op ions menu and for now ensure that 3#o% a++ a&es in +anes F%#en roo'G is not selected. :e7ll look at lanes shortly. (lso, for this e+ample, make sure that Coop poin s +in&ed o i'e se+ec ion is not enabled. 1. ake sure that the track output is sent to the aster and that )nput onitoring is enabled. 2. ake sure that the aster output is directed to the audio hardware outputs to which your headphones or headphone amp is connected. P. Click once on the e+isting media item to select it. Click and drag along the arrange background area to select the region that you want to be re>recorded ?see aboveB. N. &ewind the track to a point a short way before the position where you wish to start recording. This can be done by simply clicking at the reEuired place on the timeline. #. Press 5 r+ R. Iou will hear the recorded material up to the start of the defined region, where you can re> record that passage. Press 3pace to stop when you have finished recording. Disarm the track. 3. :hen prompted, accept the option to save your recorded media. Don7t forget to restore normal recording mode when you have finished your punch recording. Iour track now contains two media items, with the new one on top of the old one. :hat7s happened to the originally recorded passage/ :ell, it7s still there and you can still use it if you like. Iou7ll find out how when we get to look at *a&es. 9o e- Iou can enable the option 0oni or rac& 'edia %#en recording. )f you do this when punching in, say, a guitar or vocals, regular 0oni or -npu will cause you to hear both the e+isting and the new material right up to the punch, then only the new material during the punch. 0oni or -npu F ape au o s y+eG will monitor only the e+isting materials up to the punch, then only the new material. *ip- )f you make a mistake or change your mind when overdubbing, you can use 5 r+ P to undo the recording or you can select the unwanted media item and use the De+e e key to remove it. Hetting to grips with &'(P'&7s various record modes and in particular how they work in combination with other options ?such as monitoringB can be somewhat bewildering for new users. Chapter !1 includes a summary table *roub+es#oo ing Record 0odes and 0oni oring. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' N%

Up and Running: A REAPER User Guide v 4.30

3."> Des ruc ive Punc# Recording

Iou have the option when punch recording of actually removing from the e+isting track the previously recorded material if you wish. )f this is what you want, use the Op ions; 9e% recording #a over+aps e1is ing 'edia i e's command to turn on the toggle option *ri's e1is ing i e's be#ind ne% recording. ;e careful how you use this. Iou can restore this option to its default setting by choosing 3p+i s e1is ing i e's and crea es ne% a&es from the same menu.

3."@

Fades and 5rossfades

&'(P'& allows you to apply automatic crossfades and fades in and out of your recorded items. This feature can be turned on and off or customi9ed thru the Op ions; Preferences; Pro6ec ;0edia - e' Defau+ s. Iou can select a preferred shape and duration ?lengthB for your fade curves. Clicking on the image of the curve ?shown aboveB causes you to be offered a number of choices ?see rightB. (s you will see in Chapter N, you can easily change the default fade type and.or length for individual media items. )f you prefer not to use automatic fades, =ust disable that option.

3."A

Recording 0u+ ip+e *a&es

&'(P'&Fs multiple takes feature can help you when you want to record several versions of a track to see which you prefer. )t works like this%. Aet record mode to normal ?Op ions; Record 0ode: 9or'a+B. !. ake sure that Enab+e rac& free i e' posi ioning ?F)P B is not enabled ?i.e., not tickedB for the tracks being recorded. ,se the TCP right click conte+t menu to do this. :e7ll get to F)P later in this chapter.

1. &ecord your first take of the track. 2. &ewind to the start then record your ne+t take. P. &epeat step 2. as many times as you wish. )n the e+ample shown, an initial vocal track has been recorded, then above it three takes have been made of a vocal harmony track. <otice the te+t displayed with the name of the media item displayed for the Karmony Oo+ track. )t begins with the te+t *a&e 3$3. 9o e: ,nder Op ions; Preferences; Appearance; Pea&s$(avefor's there is a setting to Au o'a ica++y co+or any recording pass #a adds ne% a&es o e1is ing i e's . :hen you are recording multiple takes to two or more tracks at the same time, enabling this option can help you to visually identify which takes belong in the same set.

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3 E Recording %i # REAPER
3.!0 3#o%ing *a&es in Canes

$ptionally, when you have multiple takes, you may choose to have them displayed in lanes. This of course takes up more room on the screen, but has the advantage that it makes it easier to see for your various tracks which take is currently selected. This option is toggled on and off by pressing 5 r+ C or by choosing Op ions; 3#o% a++ a&es in +anes F%#en roo'G from the ain enu. )n the first e+ample ?shown rightB, three takes have been made of a vocal duet. The first and second are complete takes, the third is a punched>in overdub of one small section. )n this case, the option to Disp+ay e'p y a&e +anes ?Op ions; *a&e +ane be#avior menuB has been enabled. This ensures that the short overdubbed section is given its own complete lane. This makes it easier for you to keep track visually of which parts of each take belong together. For both tracks, the second take is currently selected ?e+cept for the overdubbed sectionB and will be played. )n this second e+ample ?rightB, different takes ?and permutations of takesB have been selected for the different tracks. )n this third illustration, the tracks have been minimised, so that at any point only the selected take is visible. Kowever, as long as the option to Ahow (ll Takes in Manes remains active, the lanes will automatically be restored to view when the height of these tracks is e+panded. 9o e: :hen you create multiple alternative takes in this way you will later be able to easily pick the best passages from each of your takes and =oin them together as a single item. The method for doing this will be e+plained in Chapter # of this ,ser Huide.

3.!"

Using 5o+or 5oded *a&es

&'(P'&7s - e'; - e' and a&e co+ors command offers a variety of interesting ways that you can use color when working with takes and items ?see rightB. :e7ll look at this whole topic in detail in Chapter#, but for now notice the command 3e ac ive a&es o one rando' co+or. )f after making your preferred working selection from the available takes for any track you double>click on that track in the Track Control Panel then all media items in that track will be selected. Choosing 3e ac ive a&e o one rando' co+or will now produce an effect similar to that shown below. This will only be visible if an option to show take colors is enabled in the (ppearance, edia page of your Preferences. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' N1

Up and Running: A REAPER User Guide v 4.30

3.!!

(or&ing (i # 0u+ ip+e *a&es

:here an item includes more than one take, you can right click over any take and use the *a&e command to control and manage your multiple takes. The Take submenu is Euite e+tensive > we7ll e+plore most of its features in Chapter #. For the time being, however, you should be aware of the following, especially if your takes are not displayed in lanes.

5o''and
<e+t Take Previous Take '+plode (ll Takes to <ew Tracks

3#or cu
* 3#if *

Effec
Displays ne+t take for selected track?sB. Displays previous take for selected track?sB. Creates a separate track for each take ?see belowB.

E1p+ode A++ *a&es o 9e% *rac&s differs from 3#o% A++ *a&es in Canes in that it lets you treat each take separately as a separate track. The picture on the right illustrates this. Track % consists of two takes which are shown in lanes. (fter e+ploding these takes to new tracks we have ?in addition to the original trackB two new additional tracks, one for each take. 5au ion: $ne look at the *a&e submenu ?on the media item7s right>click conte+t menuB will show you that there are commands available for deleting takes and cropping to active take. Iou are advised to avoid these until you have worked thru Chapter # of this guide. )n particular, avoid using the De+e e key when selecting takes- you are likely to delete more than =ust the take that you don7t want* *ry i no%. $pen the pro=ect file A++ *#roug# *#e 9ig# CA,ER3.RPP ?which you saved earlierB and add a vocal harmony track to this pro=ect. ,se this track to record three takes D then save the file.

3.!3

Over+apping - e's

Iou have already been shown two of the three overdubbing options on the Op ions menu command 9e% recording #a over+aps %i # e1is ing 'edia, i.e. 3p+i s e1is ing i e's and crea e ne% a&es Fdefau+ G and *ri's e1is ing i e's be#ind ne% recordings F ape 'odeG. The third option is to 5rea e ne% 'edia i e's in separa e +anes F+ayersG. The e+ample below shows how this works. )n the first illustration ?aboveB a part of a track has been recorded. )n the second illustration ?belowB, we have returned to this track and with the option 5rea e ne% 'edia i e's in separa e +anes F+ayersG enabled we have re>recorded the last part again, together with some new material. )n this case, despite the two takes being labelled Take % and Take !, the second take is to all intents and purposes a separate media item. Iou can choose which of these media items are and are not played.

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3 E Recording %i # REAPER
There is also an Op ions menu command to 3#o% over+apping 'edia i e's in +anes. The ma+imum number of lanes can be set on the $ptions, Preferences, (ppearance page. This general topic will be addressed again later in this guide, especially in Chapters 2, P and #.

3.!4

Recording 0u+ ip+e Addi iona+ - e's

:e have already seen how you can use &'(P'& to record multiple takes on the same tracks. Mater, in Chapter #, you will be shown how to edit these, so as to take the best parts from each of several takes and then patch them together into a single take. (s an alternative to using multiple takes, however, you may wish to record additional items onto an e+isting track, perhaps overlapping. This is an e+ample of where free item positioning can offer you greater fle+ibility. ;y default, free item positioning is not enabled. To record e+tra items ?rather than additional takesB on to an e+isting track, follow this seEuence%. Aet record mode to normal ?Op ions; Record 0ode: 9or'a+B. !. ake sure Free - e' Posi ioning ?F)P B is enabled ?tickedB for the tracks being recorded. &ight click on the Track Control Panel for the selected tracks and select Enab+e free i e' posi ioning for se+ec ed rac&s if this is not already ticked. 1. &ecord your first item for the track. 2. Position the cursor at the point where you wish to record the second item. &ecord this item. P. &epeat step 2. as often as reEuired.

E1a'p+e

)n the first screen shot shown here, Track ! contains a Oocal Track and Track % a Oocal Karmony for the first half of the song. )n the second screen shot, the option for Free i e' posi ioning ?F)P B has been enabled for Track %. The mouse cursor shows a small handle that can be used to ad=ust the height of this media item. )n the third screen shot, a second Oocal Karmony has been recorded on to Track %, overlapping the original harmony. <otice that this is not an alternative take of the first harmony, but an additional media item.

9o e- )n the $ptions, Preferences, Pro=ect, Track.Aends Defaults window there is an option to make free item positioning enabled for your tracks by default.

3.!?

Recording %i # E'p y Even s

'mpty 'vents are a clever device which can be helpful when you are overdubbing or layering. )f you know e+actly the regions where you want recording to start and stop, you can define these regions by inserting empty events. Then, when recording is commenced, only those regions defined by the empty events will actually be

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Up and Running: A REAPER User Guide v 4.30

recorded. MetFs take an e+ample where a vocal track has already been recorded, and we want to lay down a harmony vocal, where this harmony is only used for the chorus line of the song. This is how you would do this%. )nsert a new track to be used for the vocal harmony. )deally, you should name this track straight away. !. (rm the track for recording. (ssign an audio input in the usual way. Turn on 0oni or -npu for this track, and make sure the output from the aster is directed to your headphones. 1. ,se the Op ions menu to ensure that Record 'ode: au o punc# se+ec ed i e's is chosen. <otice the appearance of the &ecord button in the transport bar changes. 2. To create an empty item, first make sure that your new track is selected. Click and drag to define a time selection, then use the -nser ; E'p y i e' command to create the empty item. &epeat this as often as reEuired. )f necessary, click and drag to ad=ust their e+act positions. P. )f you need to resi9e any of them, hover the mouse over the border between the end of the event and the background, about half way up. Click hold and drag to the left to make it shorter, or to the right to make it longer. Then release the mouse. N. Aelect all of the reEuired events. To do this, use the 5 r+ key while clicking on each in turn. (n e+ample of what you should now have is shown below. )f you need to reposition the 'dit Cursor before recording, do so by clicking on the Timeline. #. Press 5 r+ R to start recording. :hen finished, press 5 r+ R again to stop. )f prompted, accept the option to save all files. Iour previously empty media items will have been replaced with your newly recorded material. Disarm the track.

3.!B

Recording 0-D-

Iou have a number of options for recording )D), depending on what eEuipment you have and how it is set up. )n every case, however, the principle is the same Iou will need to use either &'(P'&7s virtual keyboard or a )D) input device, such as a keyboard attached via a )D) )n port on your sound card or other audio device. Iou will need to create a track ?or assign an e+isting oneB for your )D) recording. Iou will need to assign an output device for your track. Iou will need to assign a Channel for the )D) item. Iou will need to turn )nput onitoring on to be able to hear what you are playing. &'(P'&7s Vir ua+ 0-DIeyboard, can be played using your mouse or PC keyboard. This keyboard is displayed using the command Vie%; Vir ua+ 0-DIeyboard. The shortcut keys A+ 2 can be used to toggle display on and off.

Procedure for Recording o a ne% 0-D- *rac&

%. )nsert a new track into a pro=ect file. (rm this track for recording. !. ake sure that your )D) keyboard is connected to the )D) )nput of your sound card or (udio Device and that it is switched on. )n this e+ample, we will be using the REAPER Vir ua+ 0-D- Ieyboard. )f this is not visible, press A+ 2. &ight click over any key that you wish to be your centre note. ,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. NN

3 E Recording %i # REAPER
1. $n the track you are using, right click over the arm record button ?as shownB. ake sure that 0oni or -npu and Record -npu are both selected, and that you have selected the Vir ua+ 0-D- Ieyboard as the -npu : 0-D- device. For this e+ample, select A++ 5#anne+sB. 2. ake sure that the TrackFs output is directed to the aster, and that the aster output is directed to the hardware audio outputs to which your speakers or headphones are attached. P. )n this e+ample we will use a Aoftware Aynthesi9er. $pen the F4 :indow for this track. Iou will need to insert a Aoftware Aynthesi9er here. Iou can use any such OATi or D8i synth that you already have installed. )n this e+ample, we will be using V3*i Rea3yn # F5oc&osG, which is included with &'(P'&. For the time being, leave the &eaAynth parameters at their default settings. N. Press 5 r+ R to start recording. Play a simple tune on the Oirtual @eyboard. ,se your mouse or PC @eyboard D e.g., =1cvbvc1= will play half a scale up and down. :hen finished. Press 5 r+ R again to stop recording. )f prompted, save your media item. )n Chapter %! we will see how your )D) data can be edited using &'(P'&7s built in midi editor. Procedure for P+aying 2ac& a 0-D- - e' Play the track, as you would any other. (s it plays, you can alter the nature and shape of the sound by ad=usting the soft synth parameters. :hen you have found a sound you like, you can click on the V button in the F8 :indow ?indicated by the mouse cursor, shown leftB and then choose 3ave Prese to name and save that set of parameters. Iour named preset can be recalled from the Preset drop down list any time. Iou can make and use presets in this way for all F8 Plug>ins and Aynths. :ith OATi synths, you are also able to import and e+port patch.bank files ?see aboveB. 9o e- The e+ample above demonstrates an important difference between )D) and (udio. :ith Audio the actual sounds made by the instrument or voice are recorded. )t is possible to use F8 like 'C and Compression to alter how the audio item sounds when played back, but the audio item itself stays the same. :ith 0-D-, you are essentially recording a series of instructions that by themselves have no sound. The music is created when those instructions are fed to a synthesi9er. ;y changing the parameters of the synthesi9er7s settings D or even by changing the synthesi9er D we are able to produce a completely different sound. Despite these differences, both audio and )D) items can be included on the same track. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' N#

Up and Running: A REAPER User Guide v 4.30

9o e: ;efore recording, you can assign seEuential input channels to a number of )D) tracks in one action. Aelect the tracks, then click on the -npu button for any one of them. From the menu, choose first Assign inpu s seJuen ia++y, then 0-D- FseJuen ia+ inpu s or c#anne+sG, then select the )D) device, then the channel selection ?e.g. for four tracks, perhaps channels % to 2B.

3.!>

O #er 0-D- Recording 0odes

:hen recording )D), you should select one of si+ modes. )n the above e+ample, we used Record -npu . :ith this mode, any e+isting events will be retained- the new material will be recorded as a new take. Four of the other five are Record: 0-Doverdub rep+ace modes Record 0-D- overdub- this will add new notes on any channel %i #in e+isting items while preserving what is already there. Record 0-D- rep+ace- from the time you start recording until you stop, e+isting )D) notes will be removed and any new material played on any channel will be recorded in their place. Record 0-D- ouc#Erep+ace- e+isting )D) notes will be replaced by any new notes played over them on the same channel as the original material. (ll other e+isting material will remain as it is. Record 0-D- +a c#Erep+ace- e+isting )D) material remains unchanged until you strike the first note. (ll of the old material will then be replaced with notes played on the same channel as the original material until recording is stopped. Record Ou pu EM Record: ou pu F0-D-G- Aimilar to the input mode, but records the )D) signal coming out of the F8 chain. <ote that these options can often be used effectively with time selection recording ?see sections 1.%N to 1.%3B and looped time selection recording ?see belowB. *ry i no%. )f you have a )D) keyboard, open the pro=ect file A++ *#roug# *#e 9ig# CA,ER3.RPP ?which you saved earlierB and add a )D) keyboard track to this pro=ect.

3.!@

Cooped Overdubbing and Cooped *i'e 3e+ec ion Recording

Moop overdubbing allows you to make repeated overdubs of a section of recorded material without having to be repeatedly stopping and starting. The techniEue can be used with both audio and )D). )n both cases, you will need to check your Op ions; Preferences; Audio; Coop Recording settings. 'nable (#en recording and +ooped add recorded 'edia o pro6ec On s op . ,sually you will also want to enable -n +oop recording; discard inco'p+e e firs or +as a&es if a +eas one fu++ +oop %as recorded . Iou should also ?from &'(P'&7s main Op ions menuB disable Coop poin s +in&ed o i'e se+ec ion and enable *i'e se+ec ion au oEpunc#. <ow arm your track for recording, select your record options and make your time selection =ust as you would for normal punch recording. Click and drag along the timeline to create the loop D this should enclose the time selection, as shown below. ake sure *ogg+e repea ?ne+t to &ecord buttonB is enabled on the Transport ;ar. :hen Record inpu Faudio or 0-D-G is selected, then both audio and )D) essentially behave in a similar way. :hen you record, a new take will be created within the time selection for each pass over the loop until you press 3 op. The loop is used to audition material immediately before and after the section being recorded.

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3 E Recording %i # REAPER
For e+ample, you might choose 0oni or inpu and Record -npu Faudio or 0-D-G and -npu 0-D- then your )D) device. )f so, the outcome will be similar to that shown here. )n this case, you have three takes for the time selection passage. (udio material recorded with -npu 0O9O rather than -npu 0-D- would produce a similar result, e+cept of course the media items would be audio instead of )D). Iou will, however, get significantly different outcomes if you use any of the Record: 0-D- overdub$rep+ace options with looped time selection recording . )n each case, new takes will not be created. )nstead, the e+isting take will be edited. For e+ampleRecord: 0-D- Overdub- with each loop, the new material will be added to the e+isting material within the time selection. Record: 0-D- Rep+ace- with each loop, all previous material within the time selection will be replaced with new material. For e+ample, the first loop will replace e+isting events within the time selection. Aecond time around it will replace the material recorded in the first loop with new events, and so on. $nly the most recent material will be saved. Record: 0-D- *ouc#Erep+ace- 'ach time you play a note within the time selection any e+isting material concurrent with that note will be replaced with new material is on the same channel. For e+ample, if you play correctly e+cept for one wrong note first time, you can correct =ust that one note second time round. Record: 0-D- Ca c#Erep+ace- 'ach time round the loop all e+isting material in the time selection will be replaced with new material if on the same channel only from the moment you press your first note. This techniEue can be useful, for e+ample, if you are replacing e+isting material little by little.

3.!A

Recording (i # a Vir ua+ -ns ru'en

To use a virtual instrument ?such as a OATi or D8i plug>inB for recording a )D) track, you should choose the -nser vir ua+ ins ru'en on ne% rac&: command. This can be done either by choosing -nser from the main menu ?then Vir ua+ ins ru'en on ne% rac&B, or by right clicking over the vacant Track Control Panel area and selecting the reEuired command from the conte+t menu. Iou will then be presented with a selection of all the virtual instruments that you have installed on your system. Double>click on the reEuired item. The track will be created, armed and named and the instrument displayed. The e+ample shown here is for Rea3ynDr, which reEuires four outputs. )f the item selected is one that ?like thisB reEuires multiple outputs then &'(P'& will create the initial track and prompt to ask you if you would like the other reEuired tracks to be automatically built. )f you select ,es the entire output chain will be built for you. :hat e+actly this produces will, of course, depend upon which Oirtual )nstrument you have selected. 0oni oring an E1 erna+ 3yn #esi=er )f you are working with an e+ternal hardware synthesi9er then it is likely that at times you may wish to monitor its output in &'(P'&. This topic is covered in Chapter %!, anipulating and 'diting )D) )tems.

3.30

Using 0icrosof G3 (ave ab+e 3( 3yn #

Iou can use the icrosoft HA :avetable Aynth if it is included with your version of :indows. This can be especially useful for playing any )D) files that you may wish to import into &'(P'&. Iou will be shown how to import files later in this section. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' NQ

Up and Running: A REAPER User Guide v 4.30

To enable the icrosoft HA :avetable A: Aynth%. Ho to Op ions; Preferences and display the 0-D- Devices screen. !. ,nder )D) $utputs, right click on icrosoft HA :avetable A: Aynth and select Enab+e Ou pu . 1. Click on App+y, then on OI. This Aynth will now be available as a )D) Kardware $utput. Iou can if you wish now use the 0icrosof G3 (ave ab+e 3( 3yn # as your output device instead of using a software synth ?see aboveB.

3.3"

-'por ing 0edia: #e 0edia E1p+orer

Iou can incorporate e+isting media items ?such as P1, )D) and :(O filesB into a &'(P'& pro=ect. This can be done from the main menu, using the -nser ; 0edia Fi+e :, but itFs often easier and more fle+ible to use &'(P'&Fs 0edia E1p+orer. The edia '+plorer includes several features that make it easier for you to insert items. The edia '+plorerFs state is toggled between displayed and hidden using the Vie%; 0edia E1p+orer command, or the keyboard shortcut 5 r+ A+ 4. (mongst the edia '+plorerFs useful features are these The edia '+plorer can be docked and undocked in the usual way or from the Op ions menu. Iou can navigate to display of any folder7s contents in its main window, by clicking on the small button with two dots, located =ust below the $ptions command. ,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. #"

3 E Recording %i # REAPER
Iou can filter the items listed in the main media e+plorer panel by typing a te+t string in the fi+ er bo+, shown here =ust above the Date column. )n the file list shown above, for e+ample, you could type be++ to show only those items whose name includes the word bell. Deleting this te+t removes the filter. The drop down list ?right of filter bo+B can be used to display file details ?as shown hereB or file names only. Iou can add the currently displayed folder to the edia '+plorerFs shortcut list by using the 0edia E1p+orer; Add curren fo+der o s#or cu s +is command. Aelect any folder on the Ahortcuts list to display its contents. <otice the Transport ;ar beneath the Ahortcuts Panel D From left to right, its four buttons are Play, Pause, Atop and &epeat. There is also a hori9ontal fader which can be used to ad=ust the volume of playback. Iou can also click on any part of the displayed waveform to play back from there. ,se the mousewheel to 9oom in and out of the media peaks hori9ontally. Display of waveform peaks can be turned on and off from the Op ions menu. ;y clicking on the -O button ?ne+t to Transport ;arB, you can direct the Preview to any audio output. The peaks within the preview window can be 9oomed using your mousewheel. Iou can also scroll by holding 3#if while you drag the mouse left or right. Iou can mark any time selection by clicking and dragging over the preview display, and move a selection left or right by holding A+ while you drag the mouse. )f Au o p+ay is enabled, you can automatically previe% any file in the edia '+plorer by clicking on its name. )t will play when selected. There is also an option to 3 ar on bar. $n the Op ions menu there is also an option to Au o advance o ne1 fi+e af er previe%. This will only work if the repeat function on the transport bar is set to off. The Pi c# rotary control ad=usts the pitch of the item being previewed. Double>click to reset. To ad=ust the height of the waveform preview, click and hold the mouse on the top edge of the preview area, then drag up or down. To avoid possible clashes of tempo, you can select an option ?including *e'po 0a c# Off and *e'po 0a c# OnB from the drop down list in the preview area. There is also a toggle option to 3 ar on 2ar. The Op ions menu includes a toggle option to Preserve pi c# %#en e'po 'a c#ing. &ight clicking over the name of any media item will produce a conte+t menu of choices ?shown hereB for inserting that item into the current pro=ect. These choices are -nser in o pro6ec ?on currently selected trackB, -nser a i'e se+ec ion Fs re c#$+oop o fi G ?if a time selection is currently activeB, -nser in o pro6ec on ne% rac&, -nser as a&e in se+ec ed i e' ?reEuires an item in the pro=ect to be selectedB, Use as 'edia source for se+ec ed i e' in place of that item7s e+isting media source, Use as 'edia source for se+ec ed i e' Fs re c#$+oop o fi G in place of that item7s e+isting media source, and Previe% Aelected items can also be inserted into a pro=ect by dragging and dropping, or by double>clicking on the item, or pressing En er ?see ne+t pointB. The default behavior when double>clicking or pressing En er on a selected item is determined by an Op ions menu setting Defau+ ac ion Fdoub+eEc+ic& or en er keyB ?shown on the rightB. $ptions for selected media items include -nser 'edia on se+ec ed rac&, -nser 'edia on ne% rac& and 3 ar previe%. $ptions for selected pro=ects include Open pro6ec s in curren ab and Open pro6ec s in ne% ab. The Op ions menu also includes the command Use (indo%s E1p+orer for bro%sing. )f enabled, this causes the whole :indows '+plorer conte+t menu to be available to you when right>clicking on an item. )f disabled, only &'(P'&7s edia '+plorer commands are shown. )f you mark a time selection within the edia '+plorer preview, you can right>click or drag and drop to insert only that selection. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' #%

Up and Running: A REAPER User Guide v 4.30

ultiple selections can be inserted from the conte+t menu or by dragging and dropping. The 0edia screen in the Preferences window includes a setting for the default behavior of multiple insertions. )f in doubt, set this to Pro'p User. Aee also section 3.33.

3.3!

5rea ing and Using a 0edia E1p+orer Da abase

:ithin the edia '+plorer Ahortcuts panel you can create your own database ?or databasesB to further customi9e how your samples and media files are organi9ed and displayed. $ne benefit of this is that it lets you display together files that might be stored in different folders. For e+ample, you might use different folders for various types of drum samples ?snare, kick, hi hat, etc.B. There might, however, be times when you would want to see the contents of these various folders listed together. To do this, you could create a database called 4Drums Oarious5 and add all of these folders to that database. Databases are set up and managed using right>click conte+t menus in the 3#or cu s column. -n order o do #is : 5rea e a da abase Do #is :. &ight>click over empty area in Ahortcuts column. Choose 5rea e ne% da abase... from the menu. Type a name, press En er. Add fo+der con en s o da abase Aelect database in Ahortcuts column. &ight>click over its name and choose Add pa # o da abase : from menu. <avigate to reEuired folder, select it and click on OI. &epeat this to add more folders. Re'ove a fo+der con en s fro' da abase 5#ange da abase na'e Upda e da abase con en s o ref+ec c#anges in fo+der con en s Re'ove a da abase Aelect database in Ahortcuts column. &ight>click over its name and choose Re'ove pa # fro' da abase... from menu. <avigate to reEuired folder, select it and click on OI. Aelect database in Ahortcuts column. ,se Rena'e da abase... command on conte+t menu. Aelect database in Ahortcuts column. From conte+t menu use 3can da abase for ne% fi+es to search for and add new files, Re'ove 'issing fi+es fro' da abase to remove deleted files. Aelect database in Ahortcuts column, use Re'ove da abase command from conte+t menu.

,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. #!

3 E Recording %i # REAPER
3.33 3e ing a Defau+ 0edia E1p+orer Ac ion

Ahown here is the edia '+plorer $ptions menu. ost of the commands and options on this menu reEuire no further comment, but one that does is Defau+ ac ion Fdoub+eEc+ic& or en er &eyG. This can be used to specify what happens when you double>click on a media file name in the edia '+plorer. For e+ample, choices include 3 ar Previe%, -nser 'edia on se+ec ed rac&, -nser 'edia on ne% rac&. For .RPP files, you can also choose between Open pro6ec in curren This enables you to open any e+isting pro=ect file easily from inside the ab and Open pro6ec in ne% ab. edia '+plorer.

3.34

-'por ing 0u+ ip+e Audio Fi+es

:ave and other audio files can be imported directly into a pro=ect via the edia '+plorer. For e+ample, if you have a set of wave files that have perhaps been e+ported from another D(: application such as Cubase or Aonar, you can import them all together and automatically create a new track for each. (lternatively, you can =ust drag and drop the files from &'(P'&Fs edia '+plorer window, or even from :indows '+plorer. Apend some time e+ploring the options under Op ions; Preferences; 0edia ?not (ppearance, ediaB. These are summari9ed and e+plained in Chapter %Q. Kowever, in particular you should be aware of the choices that you have when importing multiple media items Iour four options as the default behavior when you import more than one item together are -nser in one rac& Fadvancing i'eG D each is placed one after the other in the same track. -nser across rac&s D each item is placed in a separate track, all starting together. Decide au o'a ica++y D if files are of the same length ?file si9eB they will be placed in separate tracks, otherwise they will be inserted seEuentially in the same track. Pro'p user D you will be prompted each time to indicate your preference.

3.3?

-'por ing Par of an Audio Fi+e

To import part of an audio file into your pro=ect, simply follow this procedure%. Aelect the file within edia '+plorer. !. Click and drag along the waveform preview to select the portion that you want to import. 1. Drag and drop the selected area into your pro=ect, or right>click and use the menu. The conte+t menu choices are the same as those shown in the table on the previous page. )n addition, you can use 5 r+ A+ while dragging and dropping your selection for either of two special purposes To a track in arrange view to render the selection as a new loopable file, inserted into that track. To a sampler plug>in or other application to e+port the selection, tempo matched to the sampler.

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Up and Running: A REAPER User Guide v 4.30

3.3B -'por ing 0-D- Fi+es

To preview a )D) file in edia '+plorer, first create an empty track in your pro=ect and insert a virtual instrument or synthesi9er into that track7s F8 chain. Iou can then select any )D) file in edia '+plorer and preview it. Iou can also select any part of a )D) file to import- use the same techniEue as that described immediately above. &ight>click over the file to choose one of the insert options. :hen you import a type % )D) file into &'(P'&, you are offered the option of separating the tracks, or importing the file as one track. ( message such as that shown on the right will appear. )f you enable the E1pand option, the file will be imported as a series of separate tracks, one for each channel. $therwise, the material will all be imported onto different channels within a single )D) track. Iou have also the option of merging the )D) files tempo map to the pro=ect tempo map. There are several methods available to you to then assign these tracks to an e+ternal synth for output ?to enable you to play the songB. This is one suggestion%. (dd a new track immediately above the first of your )D) tracks. !. ake this a folder track all of with your )D) tracks contained within the folder. 1. )nsert a synthesiser ?such as &eaAynthB into the F8 chain for the folder track. 2. Aave and play the file. Iou7ll learn more about folders and how you create them, set them up and use them in Chapter 2.

3.3>

-'por ing 0edia fro' Audio 5D

Iou can use &'(P'&7s edia '+plorer to import into a pro=ect material from an audio CD ?such as you might play on a CD playerB. This could, for e+ample, be material that you have previously rendered to audio yourself, or it could be material that has been passed to you for inclusion in a pro=ect. To use this facility you should follow this seEuence%. )nsert an audio CD into your PC CD drive and wait for it to be read. !. Display the edia '+plorer, select 0y 5o'pu er in the left panel, then double>click in the main panel on the letter which represents your CD drive. 1. The contents of the CD will be displayed in a similar fashion to that shown above. )n this e+ample, the CD drive is labelled 4:. 2. To play ?previewB any track from the CD, right click over that track then choose Previe% from the conte+t menu ?see aboveB. Depending on whatever software is on your computer, you may also see some non> &'(P'& related commands below this. P. To insert the contents of a track into your pro=ect as a media item, right click over that track and choose one of the other commands from the menu. 'ach of these commands works as e+plained in Aection 1.1". (lternatively, you can double>click on the item to insert it into the currently selected track, or drag and drop to insert either on to an e+isting track or to a new one.

3.3@

Recording %i # Audio F4 P+ugEins

(udio effects ?F8B are usually added to a track later in the production process, well after the material has been recorded. This sub=ect was introduced in Chapter !, and you7ll find more about it elsewhere ?for e+ample, in Chapter %2B. Kowever, &'(P'& does allow you to add effects to material as it is being recorded if you wish. ,se this facility with caution, as once an effect has been added to a recorded item in this way it cannot be easily removed ?if at allB. The procedure for recording with F8 is as follows,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. #2

3 E Recording %i # REAPER
%. !. 1. 2. P. N. (rm the track for recording and select the reEuired audio or )D) input device in the usual way.

&ight>click on the &ecord (rm button and choose *rac& inpu F4 c#ain from the conte+t menu. This causes the Add F4 o *rac& window to be displayed. Aelect any effect reEuired, then click on OI. Aet the parameters for this effect. ,se the Add button to add any additional effects. Close the F8 window. (udition the performance and the effects as necessary ?see comment belowB, then record the track in the usual way.

'ffects placed in a track7s input F8 chain only use resources when the track is armed, and are applied destructively to the media item during recording. ost probably, before doing this you will want to audition the instrument or voice being recorded together with these F8 so that you can get the parameter settings right. To do this, you simply need to keep the track armed and turn on input monitoring while you listen to the live material and ad=ust the F8 parameters to suit. )nput monitoring is e+plained elsewhere in this guide, for e+ample in the sections dealing with layered and overdub recording.

3.3A

Recording a *rac&Ns Ou pu

There could be any number of reasons why you might wish to record a track7s output. $ne e+ample might be to record the output from an e+ternal synthesi9er directly onto an audio track, as a wave file or similar. Kere is an e+ample of how you might do this%. ake sure that your )D) keyboard is connected to your PC. !. Create a new track. <ame it and arm it for recording. 'nable input monitoring. 1. Aelect Record: ou pu then your reEuired option. ost likely this will be mono, latency compensated. 2. Aelect -npu : 0-D-, then select your input device from the available options. P. ake such ad=ustments as you need ?for e+ample to the synthesi9er parametersB while you audition the music. N. :hen ready, record. #. Atop recording when finished.

3.40

Recording F4 On *#eir O%n

Iou can record a track7s F8 on their own. This could be the output of a single F8 or an entire F8 chain. Doing this opens up all sorts of creative options later when it comes to mi+ing. Kere7s an e+ample%. )n a pro=ect file, select a F4 2us track and arm it for recording. !. Iou might wish to also turn up the trackFs Receives to get a good strong signal D you can always turn down the volume when playing it back later. 1. Aet the track to 0oni or -npu and chose a Recording 0ode. This is likely to be Ou pu ; 3 ereo. 2. Play the song and monitor the signal level. P. &ewind to start and press &ecord. N. Atop recording when finished. *ip- )f you do this, you will most likely want to set the track7s F8 to bypass mode after doing so. )t is nevertheless a good idea to leave the F8 inserted in the trackFs F8 bin, as a record of how the F8 was produced.

For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' #P

Up and Running: A REAPER User Guide v 4.30

3.4" Recording %i # E1 erna+ )ard%are F4

&'(P'& can record a track with an e+ternal hardware F8 device in much the same way as you might use an e+ternal device as an insert when recording on an analog desk. Iou use a plug>in called Rea-nser . )f you want to try it out step by step, create a new &'(P'& pro=ect file, insert a track, then get your F8 device ready.

E1a'p+e
%. Connect an otherwise unused audio output to the input for your F8 device. Connect the output of your F8 device to an otherwise unused audio input. !. Create a new &'(P'& pro=ect file and add a single audio track. Hive this track a suitable name. MetFs record a vocal with the F8 on it. 1. Connect your microphone to an otherwise unused audio input. Awitch on the F8 Device. 2. (rm the track for recording. P. Aelect the input device ?to which the line or microphone is attachedB, select 0oni or -npu and specify that you want to Record Ou pu and choose your reEuired option ?such as 0ono; Ca ency 5o'pensa edB, =ust as we did in the section Recording a *rac&8s Ou pu . N. <ow display the F8 :indow for this track, and add the F4 V3*:Rea-nser to this window ?see rightB. #. Apecify the actual Kardware Aends and &eturns that you set up at steps %. and 1. 3. ake sure the F8 Device mi+ is set to %""J Dry, then click on Au o De ec . This enables &'(P'& to calculate the reEuired degree of delay compensation. Q. :ith the trackFs output directed to your headphones, monitor the reEuired Oolume and F8 Mevels, including the F8 :et.Dry mi+. %". :hen you are ready, &ecord. %%. :hen finished, donFt forget to disarm the track and set the &ea)nsert plug>in status to 2ypass.

3.4!

Preference 3e ings for Recording

The Recording page of the Preferences window can be used to specify a number of options about &'(P'&Fs recording behavior. (vailable options include To scroll track view while recording. To display a preview of media item peaks as they are being recorded. This is useful to confirm that you really are recording and havenFt, for e+ample, forgotten to arm one or more tracks. Iou can also specify a screen update freEuency. :hen to build the peaks for recorded media files. To automatically display the whole Track Control Panel ?including O, metersB when a track is armed. :hether to prompt to save.delete.rename files when recording is stopped. )f you disable this option, files are automatically saved. :hether to prompt to save.delete.rename files on punch out. )f you disable this option, files recorded by this method are automatically saved. :hether to start recording to a new file after a specified number of megabytes. This can help to make data secure when recording a long live performance,. ,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. #N

3 E Recording %i # REAPER

Prevent recording from starting if no track is armed. Iou may wish to turn this off if you are using layered recording for a track ?or tracksB where recording is not reEuired to start until some way into the song. :hich items to include in the file names for recorded media D you can include any combination of the track inde+ number, the track name and the time stamp ?or none of theseB. To check for free disk space before recording, and to display the amount of free disk space and.or recording path on the menu bar.

3.43

*rac& Preferences for Recording

The &'(P'& *rac& Defau+ s settings includes a number of items that you can use to help make the recording process a little easier. These settings can be found on the Pro6ec ; *rac&$3end Defau+ s page of the Op ions; Preferences window. Aettings on this page include The default gain level for the trackFs volume fader. :hether output should be routed to the ain send. The default new track height. :hether new tracks are automatically armed for recording. ( &ecord Config option to set defaults for the &ecord (rm conte+t menu. $ptions include, to turn on by default )nput onitoring and specify default record input settings. :hich &ecord ode should be the default for new tracks.

For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' ##

Up and Running: A REAPER User Guide v 4.30

<otice also that under Op ions; Preferences; Appearance; VU 0e ers$Faders there are a number of settings which together determine how your track O, meters are presented. For e+ample, you can choose whether or not to 3#o% rac& inpu %#en record ar'ed and to 0a&e obvious #a rac& inpu is c+ic&ab+e. Disabling this latter option may improve the clarity of the display on your O, meters. 'nabling 3#o% db sca+es on record ar'ed rac& meters and 3 ic&y 5+ip -ndica ors helps you to monitor peak levels.

3.44

Recording %i # 0i1ed For'a s

&'(P'& allows you to use different recording formats for different tracks in the same file. The default format for each new track that you create will be determined by your Pro6ec 3e ings. To change these for any track, simply right click over the trackFs O, meter, then from the menu choose *rac& Recording 3e ings. Iou can choose any of the formats (AV, A-FF, 0on&eyNs Audio, FCA5, 0P3, OGG Vorbis, or (avPac& +oss+ess co'pressor. Depending on the format you choose, you will be presented with a range of options appropriate to that format.

3.4?

REAPER Audio Recording 5#ec&+is

The following checklist is for guidance only. )n some cases you may vary the suggested order ?e.g., you can switch on your PC and start &'(P'& before getting together your microphone and leadsB. )n other cases the order is critical ?e.g. you should always connect your microphone to your preamp before turning on the phantom power supplyB. )f you are not sure, keep to the e+act same seEuence outlined here. - e' Prepara ion 5o''en Aet up all e+ternal recording eEuipment needed ?microphones, stands etc.B. (ll faders and gain controls on mi+er and.or sound device turned right down. Phantom power ?if availableB turned off. 'verything connected that needs to be connected ?e.g. microphone leads to mi+er or sound deviceB. Turn eEuipment on, but check volume on speakers isn7t too loud. Connect headphones to headphone amp or sound device. )f phantom power reEuired ?for condenser microphoneB, turn it on. Turn on PC and wait for :indows to open. $pen &'(P'& with reEuired pro=ect file. Aave file. Check recording format and settings D e.g. !2 bit :(O at 22%"" K9. )s a different format reEuired for this track/ ake sure &ecord ode is set to <ormal.

P5 Pre+i'inaries Pro6ec 3e ings

,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. #3

3 E Recording %i # REAPER
*rac& 3e ings <amed and armed for recording/ Track )nput onitoring on or off/ ,se the Aound CardFs direct input monitoring if available in preference to &'(P'&Fs. &ecord )nput selected/ Correct input channel selected/ Atart low and work up. &ecord a small sample to test levels- the e+amples here show too low, too high and about right. )t is better to be too low than too high. Press 5 r+ R to record and again to stop recording when finished. Aave media items. Press 5 r+ 3 to save pro=ect file. ,narm track before playing back recorded tracks to evaluate them. 'specially if listening thru headphones, disable )nput onitoring ?or turn faders and gain controls on the input device right downB, to prevent live ambient sounds from being mi+ed in with your recorded material.

*es Recording Ceve+s

Recording Eva+ua ing

3.4B

Recording an -n erne Audio 3 rea'

Iou can use &'(P'& to record an audio stream from the internet. ;efore doing so you should make sure that you are not in breach of any copyright restrictions. The e+act method will depend on your hardware setup, including your sound card. Iour sound card should include some sort of software for changing its settings. This may or may not have its own icon within the :indows Control Panel. )f you are not sure how to access it, you can click on the :indows 3 ar button, choose Run, then type sndvo+3! Qr and press En er. )n overview, these are the steps that you will need to perform. %. (ccess your sound cards control software and modify its settings to select ?depending on the options availableB the reEuired option. Iou should probably temporarily disable input from all other sources ? icrophone, Mine, etcB. !. $pen your web browser and find the page containing the item that you wish to record. 1. $pen &'(P'&, create a new file and add a track. 2. The ne+t step may reEuire a little e+perimentation. Depending on the eEuipment you are using, it might be necessary to change your Op ions; Preferences; Audio; Devices settings to Direc 3ound. (n e+ample is shown here. These settings may not be the best for your particular system. P. (rm your track for recording, making sure to select the correct input. N. Press 5 r+ R to start recording. )n your web browser, play the item that you wish to record. :hen finished, stop recording and save your work. 9o e: DonFt forget when you have finished, to restore both your Aound Card &ecording Control options and &'(P'&Fs (udio Device Preferences to their previous settings.

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Up and Running: A REAPER User Guide v 4.30

3.4> 5onver ing Audio 0edia - e' For'a

)n this internet age in which we live, it is becoming increasingly common for musicians to want to collaborate on pro=ects all the way across the world. Consider this scenario. Iou have a part recorded pro=ect of perhaps P" or more !2 bit wave files. )n some far off land you have a friend who has offered to lay down a track such as a flute. Iou7d like to get your source files to her, so that she can do this for you, layering it down against whatever headphone mi+ best suits her. Kowever, your recorded material so far comes to over 1 H; and she doesn7t have a particularly fast internet connection. $ne solution could be to convert the files to a compressed format and send her those. There7s a Euick way to do this, using the Fi+e; 3ave pro6ec as : command. Choose this command and follow these steps.

)f you wish, navigate to a reEuired parent folder. 'nable the three options to 5rea e subdirec ory for pro6ec , 5opy a++ 'edia in o pro6ec direc ory, and 5onver 'edia. 1. Click on the For'a ... button to display the settings bo+ shown above. 2. 'nable the option ?top leftB 3e for'a o save as. P. Aelect your reEuired format ?e.g. FM(C, P1 or, as shown here, $HH OorbisB. N. Apecify your preferred format settings. #. Click OI. 3. Click 3ave. (ll audio media items in the pro=ect will be converted to the specified format as they are copied across. The format of the original items will remain unchanged. Iou can also convert and e+port selected individual media items from one format to another without having to convert the whole pro=ect. This topic is covered in Chapter %3.

%. !.

,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. 3"

4 E Pro6ec Arrange'en 2asics 4

4."

Pro6ec Arrange'en 2asics

0anaging *rac&s

)n Aection !, we introduced some very basic &'(P'& track management features, such as Oolume, Panning, ute and Aolo. )n this section, we will be e+ploring these features in more depth, as well as introducing several others, including moving and removing tracks, the use of track folders and track parameter grouping. any of the commands and actions involved in track management are available from the menu that is displayed when you right click over any track number. The illustration ?rightB shows these. &emember that at any time you can use 5 r+ P to undo your last action. &'(P'&Fs ,ndo capabilities are described in more detail later in this section. *ip- ;efore continuing, you might wish to open the supplied pro=ect file A++ *#roug# *#e 9ig# .RPP and save it to a new name such as A++ *#roug# *#e 9ig# ED-*3.RPP. Iou can then use this file to try out and e+periment with some of the ideas presented in this section.

2asic *rac& 0anage'en

( number of techniEues can be used for carrying out these various track management tasks. *as& 0ove a rac& up or do%n #e rac& order 0ove %o or 'ore ad6acen rac&s up or do%n 0e #od Click on the track number, then click and drag the track up or down the track list, then release the mouse. edia items are moved with the track. Click on the track number for the first track, then hold 3#if while clicking on the track number?sB of the last of the tracks that you wish to select. Then click and drag up or down. (gain. all media items are moved with the tracks. Click on or around the track number, the press De+e e, or right click and choose Re'ove rac&s. (ll media items are removed with the track. ,se 5 r+ with the left mouse click to make your selection, then press De+e e, or right click and choose Re'ove rac&s. (ll media items are removed with the tracks. &ight click over the track number, choose Dup+ica e se+ec ed rac&s. (ll media items are duplicated with the track. To do this with more than one track, select all reEuired tracks first. Click on the track number. Press 5 r+ 5. ove to the reEuired location then press 5 r+ V. (ll media items are duplicated with the tracks. To do this with more than one track, select all reEuired tracks first. &ight click anywhere in the Track Control Panel area, below the last track. Choose 3#o% 'as er rac&, or use the keys 5 r+ A+ 0 to toggle. Click and drag right.left on the boundary between the TCP and the arrange area. (s the TCP becomes narrower, some controls may disappear from view and faders may change to knobs.

De+e e a rac& De+e e %o or 'ore rac&s

5opy a rac& as #e ne1 rac& 5opy a rac& o a specified +oca ion Disp+ay #e 0as er in *rac& Vie% 0a&e #e *rac& 5on ro+ Pane+ %ider$narro%er

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Up and Running: A REAPER User Guide v 4.30

4.! *rac& 5on ro+ 0odifiers

Four of the items used when auditioning tracks are the Vo+u'e; Pan; 0u e and 3o+o controls. These controls were introduced in Chapter !. The (id # control is also shown here. This is only displayed if you select the stereo pan law ?from the pan fader right>click menuB. This will be discussed in Chapters %" and %%. ;y default, volume and pan faders control audio output. )f you wish instead to use them for data on )D) channels for any track?sB you should first select the tracks, then right>click over the track number and choose 0-D- rac& con ro+s then one of the Cin& rac& vo+u'e$pan o 0-D- options from the menu ?see Chapter %!B.

Vo+u'e and Pan 5on ro+s

0odifier Iey A+ 5 r+ 3#if %i # Vo+u'e Fader :hen mouse is released, fader returns to its original position. :ith more than one track selected, only the control for the current track is affected. (llows more precise control of fader level. &eset to 9ero. %i # Pan Ro ary :hen mouse is released, fader returns to its original position. :ith more than one track selected, only the control for the current track is affected. (llows more precise control of fader level. &eset to centre.

5 r+ Doub+e c+ic&

0u e and 3o+o 5on ro+s

0odifier Iey 3#if 5 r+ A+ 5 r+ A+ 5 r+ 3#if %i # 0u e 2u on :hen more than one track is selected, only the current track is toggled. Clears all mutes. ,nmutes selected track?sB, mutes all others. utes selected track?sB, unmutes others. <ot applicable %i # 3o+o 2u on :hen more than one track is selected, only the current track is toggled. Clears all solos. Aolo selected tracks only, e+cludes output from any sends. Aolos selected track?sB, unsolos all others. Toggles Aolo Defeat mode for the track or track selection. Aee below for more information.

3o+o Defea

Aolo Defeat can be used to ensure that a track will still be heard even when another track or track selection is soloed e+clusive.
*#e 0u e and 3o+o con ro+ con e1 'enus The options shown above are also available by right>clicking over the ute and Aolo buttons respectively. These conte+t menus are shown on the right. They can be applied to an individual track or to a selection of tracks. 2u+& *rac& 0u e$3o+o To mute or solo a range of tracks in one action, click and drag in the TCP from the mute or solo button of the first track in the range to the same button on the last track in the range, then release the mouse button. &epeat this action to unmute.unsolo all muted or soloed tracks within a range.

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4 E Pro6ec Arrange'en 2asics

Vo+u'e and Pan Faders &ight clicking over the volume fader of any track or folder will open a window displaying volume and pan faders not only for the track itself but also for any sends and receives associated with that track. (n e+ample is shown here. &ight clicking over the Pan fader opens a window which can be used to change that track7s pan law. This sub=ect was discussed in Chapter !. *ip: ;y default, double>clicking on a track number in the track control panel will cause all media items in that track to be selected. Iou can change this behavior if you wish on the 0ouse 0odifiers page of your Preferences. For more information about customi9ing mouse modifiers, see Chapter %1.

4.3

3o+o -n Fron

The solo in front feature allows you to hear the rest of your pro=ect Euietly in the background when a track or track selection is soloed. This feature is toggled on and off by the Op ions; 3o+o -n Fron command. The level at which the background tracks are heard can be specified via the $ptions, Preferences, (udio settings page. <otice that this setting ?in the above e+ample it is set at %3d;B determines the number of decibels by which the background mi+ is reduced. This means that the higher the setting the Euieter the background mi+ will be heard and vice versa.

4.4

3earc#ing #e Preferences 3e ings

Iou have already come across a number of &'(P'&Fs preferences settings. For e+ample, we have looked at some of the preferences settings for (udio Devices, )D) Devices, &ecording and Pro=ects. The more you work with &'(P'&, the more you will realise how very many preferences settings there are. )n fact, there are so many that it can sometimes be difficult to remember which page you need for a particular setting. To help you here there is a te+t bo+ and a Find button near the bottom of the Preferences window. Iou can enter any word or phrase in the bo+, click on Find and the first occurrence of that word or phrase will be shown. )f this isnFt the item that youFre looking for, each time you click the Find button the ne+t occurrence of that word or phrase will be shown. )n each case, the item will be displayed with a colored highlight. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' 31

Up and Running: A REAPER User Guide v 4.30

)n the e+ample shown here, a search for sends has turned up some information about various options for setting the default parameters for track sends when they are created. *ip- ;y default, double>clicking on a track number will cause all media items on that track to be selected. Iou can change this, and.or add mouse modifiers of your own via the Edi ing 2e#avior; 0ouse 0odifiers preferences page. For e+ample, you could assign A+ Doub+eEc+ic& to the action Oiew-Toggle track 9oom to ma+imum height. )nstructions for customi9ing mouse modifiers can be found in Chapter %1.

4.?

*rac& 5o+ors

;esides keeping tracks together in folders, you can use color as an effective means of helping you visually identify the relationship between different tracks. To do this, simply select the track ?or tracksB in the Track Control Panel, then right click, choose the 5us o' *rac& 5o+ors command, then use any of these commands from the submenu5o''and 3e 3e 3e 3e rac&s o cus o' co+or: rac&s o rando' co+ors rac&s o one rando' co+or rac&s o defau+ co+or Effec $pens a Color Aelection dialog bo+ for you to select a color for the trackFs media items. Aets the media items for each track in the selection to a different randomly chosen color. Aets the media items for all tracks in the selection to the same randomly chosen color. &estores the track7s color to the default for the current color theme.

The illustration ?rightB shows an e+ample of how the 5o+ors interface ?displayed by choosing the 3e rac&s o cus o' co+or: commandB can be used to specify different colors for different tracks and groups of tracks. $n the Appearance page of your Preferences settings ?$ptions, PreferencesB you can use the *rac& 5on ro+ Pane+ options to apply your colors to the track label background, the track panel background, or both. Kow the colors will be displayed for your track media items will depend upon which options you select on the Appearance; 0edia page of your Preferences settings. Iou can choose to tint the waveform peaks and.or the background. Iou can also set the color strength ?between " and 2B for both selected and unselected tracks. ore details of these and other (ppearance options are listed and e+plained in Chapter %Q.

4.B

5o+or *#e'es

&'(P'& also supplies a number of color themes that you can use to present your pro=ects attractively. To select from the themes supplied with &'(P'&, use the Op ions; *#e'es command. Iou can modify the colors and other characteristics of your preferred theme by going to the Appearance; *#e'e Edi or page of your Preferences settings. ore details of this can be found in Chapters %" and %%. )n addition, a very large number of complete ,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. 32

4 E Pro6ec Arrange'en 2asics

themes are available in the REAPER s as#. These are available for free download at s as#.reaper.f' Iou can also visit the &'(P'& ,ser Forums for more themes.

4.>

*rac& -cons

)cons can be added to tracks as you wish. Iou can drag your own .P<H or .SPH files from :indows '+plorer and drop them on to any track in the track control panel, or right click over the track number and choose 5us o' *rac& -cons then 3e rac& icon... from the track menu to use any of those supplied with &'(P'&. This opens the Coad -'age Resource dialog bo+, from which you can make your selection and click on Open. Ahown here is an e+ample of a pro=ect which uses track icons. &emember that if you create a track template from a track which displays an icon, then the icon will be saved with the template. To display these icons also in the i+er, open the i+er, display its menu and choose 3#o% *rac& -cons in 0i1er. To remove icons from any track or selection of tracks, first select the tracks ?in either the track control panel or the mi+erB then right>click over any selected track icon and choose Re'ove *rac& -con from the menu. )f you don7t care for the icons supplied with &'(P'& D or you can7t find what you want D you can download more track icon sets from the &'(P'& stash, at s as#.reaper.f'

4.@

)eadp#one 0oni oring

:hile you are listening to and evaluating your various recorded items, itFs usually recommended practice to use the monitors ?speakersB in your studio or control room. Kowever, you may wish also to use headphones from time to time, perhaps for those occasions when you need to focus in detail on a particular track or media item. (ssuming that you have a PC) sound card or other audio device ?Firewire or ,A;B which supports multiple outputs, hereFs a neat little trick. %. (ssign Ou pu A+iases o your outputs, as e+plained in Chapter %. !. Display your &outing atri+ and assign the output from the aster to the Control &oom speakers. 1. Put on your headphones. 2. (s you play the song, click on the appropriate cells on the routing matri+ to also direct any particular track on which you wish to focus to your headphones. $f course, you can change from track to track, or add as many or as few as you want at any time. )n the e+ample shown ?aboveB, the entire mi+ ?from the asterB is being heard thru the only track " Vo1 is also being heard thru the headphones. ain Apeakers, but

&emember that you can right click over this grid cell to display the controls for this send ?such as OolumeB. This can be also a good techniEue to use when you have with you a musician who wants to particularly hear her own track while you are mi+ing*

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Up and Running: A REAPER User Guide v 4.30

:hen you are mi+ing down, you might not wish to see all of the available routing information available D it can get Euite comple+. Iou might wish to keep the routing matri+ display as simple as possible for the =ob in hand. For e+ample, if you are focussed purely on mi+ing, you might not need to see all the various input assignments. &ight clicking over the background area lets you customi9e its display. )n the e+ample shown here, by unchecking 3#o% audio #ard%are as sources we have simplified the display. )f you have installed &ea&oute, consider also disabling the options to 3#o% ReaRou e as des ina ions and 3#o% ReaRou e as sources.

4.A

5rea ing a )eadp#one 0i1

Provided your sound card includes at least two pairs of outputs, we can make the process of headphone monitoring easier and more fle+ible by creating a headphone mi+. This is how it is done. %. !. 1. 2. P. Connect your Keadphones to your Keadphone (mp, and your Keadphone (mp to one pair of outputs. Create a new track and name it )eadp#one 0i1. Create sends to this track for any and all tracks that you want to be able to monitor thru your headphone mi+. Choose the Op ions; Preferences command, select the heading Genera+ then click on the Advanced U-$3ys e' %ea&s : button. 'nable A++o% rac& enve+ope$rou ing %indo%s o s ay open. Click OI then OI again to close the Preferences window. Aelect your )eadp#one 0i1 track and open the -O Rou ing (indo%. (dd an Audio )ard%are Ou pu to the paired outputs to which your Keadphone (mp is connected. Disable the 0as er$Paren 3end for this track.

N.

Iou can now use the Pan and Oolume faders for your receives, together with the your headphone mi+.

ute buttons, to control

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4 E Pro6ec Arrange'en 2asics

4."0 Disp+aying Grid Cines

&'(P'& lets you determine whether or not to show grid lines in your pro=ects. )f you choose to show them, you have a number of options to determine how they are displayed. )n this section we will look at three e+amples of how you might choose to use grid lines if you wish. The display of grid lines is toggled on and off using the Grid button on the toolbar, or the Op ions; 3nap$grid; 3#o% grid command, or the keyboard shortcut A+ G. Hrid line settings are accessed by right>clicking on the Grid button, or choosing the Op ions; 3nap$grid; 3nap$grid se ings command or by the keyboard shortcut A+ C. The e+amples below illustrate the effects of various permutations of grid setting options. These include options for the display of 'ar&er +ines. arkers will be e+plained in Chapter 3. 3#o% grid disab+ed.

3#o% grid enab+ed. Apacing % beat, minimum !" pi+els. Hrid line thru items, over items. arker line

Dotted grid lines not selected.

3#o% grid enab+ed. Apacing % beat, minimum P pi+els. Hrid line under items, over items. arker line

Dotted grid lines option selected.

3#o% grid enab+ed. Apacing % beat, minimum P pi+els. Hrid line over items, under items. arker line

Dotted grid lines option selected.

Mater in this ,ser Huide ?Chapter P and NB, you will be shown how you can use your grid settings to automatically snap various &'(P'& ob=ects and items to position.

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Up and Running: A REAPER User Guide v 4.30

4."" Unders anding 3ends; 2uses; 3ub'i1es and Fo+ders

Iou have already seen that each of the tracks in your pro=ects has its audio output routed by default to the master, and that from here the audio signal is directed to your preferred output device or devices, such as speakers or headphones. The signal flow that occurs here within &'(P'& can be represented by the first diagram on the right, which shows a simple pro=ect with =ust three tracks. )n Chapter! of this ,ser Huide, you were shown how to use a track as an effects bus, for e+ample to add the same reverb effect to a number of tracks. The signal flow for this arrangement can be represented by the second of the two flow charts ?below rightB. The sends that you create for each track carry a signal to the ;us track, which applies the effect, and then sends the processed ?wetB signal on to the aster. (t the same time, so long as the 3end 0as er$Paren option remains enabled, the dry signal for each track is also sent directly to the master. Kere it is finally mi+ed together with the 4wet5 signal from the bus before being directed to your speakers and.or headphones. These two e+ample models use routing arrangements that you would e+pect to find in probably any D(: program. Kowever, we are now about to enter territory where &'(P'& may be substantially different from other software that you may have used before. This relates to how you can create and use submi+es. :ith most programs, to create a submi+ ?perhaps for your various drum tracks or vocal harmoniesB you will need to create a bus, add sends from each track that is to be included in the submi+, and then disable the direct sends to the master from each of these tracks. Iou can use this method in &'(P'&. Kolding the A+ key while you click on a track7s -O button will toggle on and off the direct send to the master. )f a track7s output to the master is enabled this is shown on the track control panel. )f disabled, the word 0as er is dimmed. This distinction is shown on the left. )n the first ?topB e+ample, the output from the track to the master is enabled. )n the second ?bottomB e+ample, the output to the master has been disabled. Kowever, a smarter and potentially more powerful way of creating a submi+ is to use folders ?sometimes called track foldersB. :e7ll look at how this is done shortly, but first let7s get our heads around the concept. ( folder track is created initially in the same way as any other track. Iou then tell &'(P'& to treat this as a folder track > and essentially that7s it. Iou now have your submi+ ?as shown here on the rightB. Direct output to the master from the individual 4child5 tracks within the folder is automatically disabled. )nstead, they are passed thru the folder. <ote that you should not manually disable the master.parent send for child tracks within a folder, or their output will no longer go to the folder ?the master trackB. ,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. 33

4 E Pro6ec Arrange'en 2asics

(nything that you do to the folder will be done to the entire submi+. For e+ample, if you ad=ust the volume up or down, the volume of the submi+ will be ad=usted up or down. )f you add an effect such as a compressor to the folder then that effect will be applied to the submi+. ;efore we see e+actly how a folder and its child tracks are set up, there7s one more scenario to consider. 'ven when you have a folder which contains a submi+ of other tracks, you can still use buses for the folder itself or for individual tracks inside the folder ?see rightB. )n this case our folder ?submi+B still consists of the same three tracks as before. )n addition, however, a send has been created from the folder to an F8 bus, perhaps to add reverb to the submi+. :e7ll see an e+ample of this soon. There are three types of send D Pos EFader FPos PanG, PreEFader FPos F4B and Pre F4. These are e+plained in Chapter %P and illustrated by the flow charts at the end of Chapter P. For the time being, accept the default option, Post>Fader ?Post PanB.

4."!

*rac& Fo+der Essen ia+s

:hen a number of tracks are collected within a folder, you will probably want to use both the individual track controls and the folder controls. For e+ample, you can use the Vo+u'e controls for individual tracks within a folder to set the volume levels for the different tracks relative to each other. Iou can then use the Oolume control for the folder itself to control the overall combined volume level of the tracks in that folder. (nother e+ample is that the 0u e and 3o+o controls for the folder will act on the folder as a whole. Kowever, you do still have the option of using each trackFs individual ute and Aolo controls. The e+ample illustrated ?rightB shows a folder called -ns ru'en s that contains three individual tracks. The faint peaks that you see in the folder7s lane in arrange view represent the combined contents of the folder7s child tracks. This can be disabled on your Preferences, (ppearance, Peaks.waveforms page. )dentify the little icons that you can see below the track number of each item in the track control panel. These are used to determine a track7s folder status. $rdinarily, this can be one of four states (n ordinary top level track ?the defaultB. The icon is displayed as a faint image of a folder. Kover the mouse over this image and it changes to aK sign. ( folder track. This is displayed as in the )nstruments track above, as a stronger image of a folder. Kover the mouse over this image and it changes to an 4 ?see rightB. ( child track within a folder. The track is nested and the icon is displayed as a faint image of a folder. Kover the mouse over this image and it changes to aK ?see below rightB The last track in a folder. ( folder icon is shown and the track is nested. Kover over this icon and it displays a down pointing arrow. Iou can click on this icon to set a track7s status. Met7s work thru an e+ample. #. $pen the file A++ *#roug# #e 9ig# .RPP and save it as A++ *#roug# #e 9ig# Fo+der.RPP 3. ake sure the Oo+ track is track %, Htr ;ody track !, Htr <eck track 1 and ;ou9ouki track 2.

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Up and Running: A REAPER User Guide v 4.30

Aelect track %. Press 5 r+ * to insert a new track immediately underneath this track. This becomes track number !. <ame this track -ns ru'en s. %". Click once on the folder button for this track. <otice it becomes a folder and the tracks below it are indented. %%. :e want the bou9ouki to be the last track in the folder. Click twice on that track to set this. (d=ust the panning of the three child tracks as you wish. %!. To illustrate a point, select the ;ou9ouki track and press 5 r+ *. ( new track is added outside the folder. %1. <ame this track Reverb and insert ReaVerba e into its F8 chain. Drag and drop in turn from the )$ button of the Oo+ track and the )$ button of the )nstruments folder to this &everb track. This will create two sends. %2. Mower the &everb track volume to about D %"." db ?see rightB and save the file. %P. Play the file. '+periment with some of the folder controls. For e+ample, mute the folder and you mute all instruments. Aolo it and you solo all instruments. (d=ust the volume and the overall volume of the instrument submi+ changes. To restore a folder as a normal track, click on the folder control icon as many or as few times as are reEuired to cycle thru the various options until you see the one that you want. Q.

4."!."

Drag and Drop Fo+der 0anage'en

(nother way of creating folders is by dragging and dropping. Iou identify which track is to be the folder, which are to be its children, then select and drag and drop the children into the folder. :hen you know what you are doing, this method is probably Euicker, but it can be tricky at first. This process is illustrated below.

Kere7s the same pro=ect file as before ?e+cept that this time the &everb track has already been addedB. Three tracks have been selected and we have began to drag and drop them up. <otice that the thick hori9ontal bar shown above the first of these tracks occupies the whole width of the track control panel.

Carefully and slowly drag them a little higher and you will notice that the hori9ontal bar is now indented slightly. <ow release the mouse and you will see the three tracks have been placed as child tracks within a newly created )nstruments folder ?see belowB.

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4 E Pro6ec Arrange'en 2asics

)f you hover the mouse over the folder icon for the ;ou9ouki track you should see confirmation that it is the last track in the folder. The drag and drop method can also be used to add tracks into an e+isting folder, and.or to remove them. Kowever, the techniEue may take a little getting used to. '+periment with this now if you wish. <otice the small down pointing arrow =ust above the track number of the folder track ?in this case Track!B. This can be used to toggle the display of child tracks in the folder between normal ?as shown above leftB, minimi9ed and collapsed ?as shown below leftB.

4."!.!

9es ed Fo+ders

&'(P'& allows you to nest folders within folders, to as many levels as you like. This feature is probably more suited to relatively e+perienced D(: users than it is to newcomers. To create a nested folder, first create an empty track within an e+isting top level folder, then use the folder control icon to make that track into a folder. ;ecause the track is itself contained within an e+isting top level folder, it will automatically be made into a second level folder. The pro=ect shown here is an e+ample of this. <otice that There is a top level folder called Oo+ Tracks which holds a Mead Oo+ tracks and a Karmonies sub>folder with four child tracks. There is another top level folder called )nstruments which holds two sub>folders ?Drum @it and HuitarsB. The two second level folders which are sub> folders of the )nstruments folder each contain child tracks of their own. There is another top level folder ?&everbsB which itself contains two reverb busses. (ny action taken on a folder will effect its entire contents. For e+ample, if in this case you were to mute the )nstruments folder, then you would automatically also mute the contents of the (coustic Huitar and $ther )nstruments folders. &'(P'& does not limit you two levels of folders. Iou can have more if you like. ;e warned, however, that if you do, life can get complicated* For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' Q%

Up and Running: A REAPER User Guide v 4.30

4."3 *rac& and *rac& Para'e er Grouping

The topic of track and parameter grouping is a huge one with an e+traordinary range of options designed to help you especially in your mi+ing and arranging. )t is based upon this principle. Iou can define group relationships between different tracks and their controls so as to ensure that when you make a change to one track in the group, changes are also made to the other tracks in the group. The nature of these relationships can vary from being Euite simple to rather comple+, and everything in between. 'verybody will have their own different ways in which &'(P'&7s track grouping feature can be helpful. Met7s look at some possible e+amples. These e+amples have been selected primarily for learning purposes. Iou might or might not find the actual e+amples themselves to be useful for you. Iou might have two tracks that you wish to keep at a constant volume relative to each other. )n this case, you could ensure that whenever one is faded up or down then so is the other. Iou might have two tracks that need to be panned opposite each other. )n this case, you can ensure that when one is panned in one direction, the other is automatically panned in the other direction. Iou might have two or more tracks that you wish to treat as a group so that they are always soled or muted together. )n a moment, we7ll work thru some e+amples. There are two main ways to create and manage your groups. This can be done either using the *rac& 5on ro+ Pane+ or the *rac& Grouping 0a ri1. Kere is an overview of both methods. ethod % uses the Hrouping dialog bo+ ?shown rightB, which can be accessed from the Track Control Panel or the i+er Control Panel. The method is as follows )n the TCP or CP, select the tracks whose parameters you wish to group. &ight>click over any track number in the group and choose *rac& grouping para'e ers from the conte+t menu ?or press 3#if GB. :hen the Hrouping dialog bo+ is displayed ?see leftB specify those parameters that you want to group, then click on 5+ose. ake sure that the option *rac& grouping enab+ed on the TCP or CP menu is selected ?tickedB.

Iou can use this same method later to make changes to your grouped parameter definitions. This interface might appear a little overwhelming at first. For this reason, it may be easier, especially at first, to use the second method. 0a ri1. This is illustrated overleaf. ethod ! uses the *rac& Grouping

The grouping matri+, which can be docked can be used to manage up to 1! different groups. To display this, choose the Vie% command, then *rac& Grouping 0a ri1, or press 5 r+ A+ G. The e+ample above shows =ust three groups on display. ;y way of preparation, we can create a special pro=ect file for our e+amples. Iou can group any selection of tracks that you like- in this e+ample, we will be working with two of three tracks enclosed within a track folder. $f course, you do not need to place tracks in a folder in order to be able to group them.

4."3." E1a'p+e

2asic *rac& Grouping

)n the e+amples that follow, the optional (id # control is shown, but not included in any groups. :hether or not this is visible will depend on your choice of track layout. This is e+plained in Chapters %" and %%.
%. $pen the file A++ *#roug# *#e 9ig# .RPP and immediately save it as A++ *#roug# *#e 9ig# GROUP3.RPP

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4 E Pro6ec Arrange'en 2asics

!. Aelect Track % ?Oo+B and press 5 r+ * to create a new track immediately below it. <ame the new track -ns ru'en s. ,sing the techniEues e+plained earlier in this chapter, make this track into a folder. 'nclose in the folder the two guitar tracks and the bou9ouki track. ake the bou9ouki the last track in the folder. Aave this file. First, you need to make sure that the track grouping is enabled, Choose the *rac& command from the main menu. )f *rac& grouping enab+ed ?near the bottomB is not ticked, click on this command to select it. )f it is already ticked, =ust click on the &'(P'& title bar. atri+.

1. Choose the Vie%; *rac& Grouping 0a ri1 command to display the Hrouping

2. P. N.

Pan one guitar track about P"J left, and the other P"J right. )n Hroup % on the Hrouping Vo+u'e column. atri+, click in the cells representing G r 2ody and G r 9ec& in the

Click also in the cells representing G r 2ody and G r 9ec& in the Pan column. )n this column, click also in the Pan Reverse cell for one of the guitars. This is shown on the right. Iou will now find that the volume controls for these two tracks are grouped so that when you ad=ust the volume for either track, both volume faders will move together in the same direction. Perhaps more interesting, when you now move the pan control left or right for either of these tracks, the other track7s pan fader will move in the opposite direction. Aave the file.

#.

3.

Q.

%". <ow click in the cells for the two guitar tracks in the 'u e and so+o columns and again save the file. The solo and mute controls for these two tracks are also linked together. (s shown above. Try them out* %%. To temporarily override the grouping, hold 3#if while you ad=ust the volume of one of the guitar tracks. <otice only that one fader is ad=usted. Iou can use 3#if to temporarily override any grouped track parameters. %!. To temporarily disable the group altogether, click where shown ?rightB on the Hroup % enable.disable toggle control. Iou will now find that all group controls for this group are disabled. %1. Click in this same cell again to again enable the group. Aave the file. The table that follows on the ne+t page summari9es what you might have discovered about grouping track control parameters from this e+ercise. 9o e: ( item7s group control status can be master only ? B, slave only ?AB or master.slave ?the defaultB. )n this e+ercise, all grouping has been of the default type, master.slave. :e7ll get to the other two options shortly. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' Q1

Up and Running: A REAPER User Guide v 4.30

4."3.!

*rac& Grouping 0a ri1 2asic 5on ro+s

Using #e *rac& Grouping 0a ri1 Display the Track Hrouping atri+. Aelect at least one parameter ?such as PanB for each track in the group. )n i+er or Track (rrange view, ad=ust the fader for any one track in the group. )n i+er or Track (rrange view, hold 3#if while ad=usting the single fader. )n the track row, click on the intersection cell for Pan Reverse or Vo+u'e Reverse. )n i+er view, hold 3#if while clicking on the appropriate button ?such as Aolo or uteB for the individual track. ,se 3#if again to restore the positive relationship. Click on the intersection cells where the reEuired parameter column meets the track rows. Click on intersection cell where the reEuired parameter column meets the row for the track that is being added. Click once, twice or three times on the appropriate intersection cell until it shows blank. )f more than one parameter is linked, do this for each parameter. Click in the group7s 'nable.Disable bo+. Click on the group name.

-n order o do #is :
Define #e rac&s in a ne% group Ad6us a++ +in&ed faders for a group Ad6us #e fader for on+y one rac& in a group con aining +in&ed faders Define a pan or vo+u'e re+a ions#ip as reverse for a rac& %i #in a group 5#ange an e1is ing ogg+e para'e er re+a ions#ip Fsuc# as 3o+o; 0u e or Record Ar'G in o a reverse one Cin& 'ore para'e ers for rac&s in an e1is ing group Add ano #er rac& o an e1is ing group Re'ove a rac& fro' an e1is ing group

Enab+e$Disab+e group 3e+ec a++ rac&s in a group

4."3.3

*rac& Grouping -ndica ors

;y default, colored ribbons are used on the Track Control Panel to identify grouped track parameters ?see rightB. ,nder Op ions, Preferences, Appearance there is a sub>section *rac& 5on ro+ Pane+s whose contents includes the option to instead use lines on the edges, or not to use any indicator at all.

4."3.4

0as er and 3+ave Group Re+a ions#ips

'ach parameter that is included in a grouped relationship can take one of three states D aster.Alave ?the defaultB, aster only, or Alave only. The different ways in which this affects that parameter7s behavior are ( aster.Alave item can control other aster.Alave and Alave only items, but not aster only items. )t can itself be controlled by other aster.Alave and aster only items. ( aster only item can control other aster.Alave and Alave only items, but not aster only items. )t cannot be controlled by any other item ( Alave only item cannot control any other item, but can itself be controlled by aster.Alave items and aster only items.

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4 E Pro6ec Arrange'en 2asics

Don7t worry, this isn7t as complicated as it sounds. To make sense of it all, let7s work thru a couple of e+amples. )n the previous e+ercise, all items within our group had aster.Alave status. This meant, for e+ample, that when you ad=usted the panning or the volume on either of the two guitar tracks, the eEuivalent parameter on the other guitar track would move according to the defined relationship. This happened regardless of which of the two tracks you used to make the ad=ustment. Met7s now look at some different scenarios. E1a'p+e %. !. $pen the file A++ *#roug# *#e 9ig# GROUP3.RPP that you made in the last e+ample. :e are going to add the ;ou9ouki volume control to this group as a slave only. ake sure the grouping matri+ is displayed. Click in the ;ou9ouki row of the Oolume column for group % to add this to your group. )t is assigned the default status of aster.Alave. Click in the same cell again. The display changes to a letter 0. )t now has master only status. Click again, and the display will change to 3 for slave only status ?see rightB. $bserve this track in the track control or mi+er panel. Iou will see only one colored ribbon on the track7s volume control ?instead of twoB. )n the TCP this will be on the right, in the CP ?mi+er control panelB this will be at the bottom. This indicates its slave status. Play the song. (d=ust the volume for either of the guitar tracks, first up, then down. $bserve that because of its slave status the volume of the bou9ouki track will be ad=usted with it. <ow ad=ust the volume of the bou9ouki track, first up then down. ;ecause of its slave only status, it cannot control any other track. The volume faders of the guitar tracks will not move as you change the volume of the bou9ouki track. <ow, for learning purposes, let7s change the bou9ouki volume status to master only. Click on that cell several times to cycle thru the options. Atop when it displays 0. This is the opposite of what happened at step 1. First, the colored ribbon indicator for this item is now shown only on the left instead of the right. This confirms its master only status ?see rightB. Play the song. )f you now ad=ust the volume fader on the bou9ouki track, the faders on the two guitar tracks will also move. Kowever, if you ad=ust the volume of either guitar track, the other guitar track will also move, but the bou9ouki fader will not.

1.

2.

P.

N.

#.

3.

Q.

%". Aave the file when you have finished.

4."3.?

*rac& Grouping (indo%

'arlier we introduced the track grouping window, and said that this interface offered a different method of working with track grouping and with grouped track parameters. Met7s now see how. The Hrouping window displays all group information about the various parameters for any selected track or selection of tracks. ost commonly ?and most usefullyB it makes sense to use it with individual tracks, one track at a time. (gain, this will be more readily understood if you work thru an e+ample. E1a'p+e %. :ith the pro=ect file A++ *#roug# *#e 9ig# GROUP3.RPP open, select the G r 2ody track in the track control panel.

!. 'ither right>click over the track number and choose *rac& Grouping Para'e ers : from the conte+t menu, or press 3#if G. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' QP

Up and Running: A REAPER User Guide v 4.30

1. This causes the Hrouping window for the selected track to be displayed ?see below leftB.

2. )n the TCP, select the ;ou9ouki track. The display in the Hrouping window changes ?above rightB, to show the currently grouped parameters for the bou9ouki D in this case, =ust the master control on the volume track. P. )n this dialog bo+, click and select 0u e 0as er; 3o+o 0as er, 0u e 3+ave and 3o+o 3+ave. These group parameters are now also selected for this track. This is confirmed by the display in the track grouping matri+. $ne more thing we can do here is to rename the group. Click on the Rena'e button, type -ns ru'en s and press En er. Close the dialog bo+ and look at the track grouping matri+. Aave this file.

N.

#. 3.

Iou can define up to 1! groups in a pro=ect file. )n the e+ample below, a second group has been added, to help when ad=usting the balance between the volume of the vocal track and the instrument mi+.

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4 E Pro6ec Arrange'en 2asics

4."3.B *rac& Grouping (indo% 2asic 5on ro+s Using #e *rac& 5on ro+ Pane+
Aelect the tracks in the Track Control Panel, press 3#if G then select at least one parameter. Press 3#if G, select the reEuired group number and click on Rena'e. (d=ust the fader for any one track in the group. Kold 3#if while ad=usting the single fader. Aelect the track in the Track Control Panel and press 3#if G. Click on Reverse Vo+u'e or Reverse Pan as reEuired. Kold 3#if while clicking on the appropriate button ?such as Aolo or uteB for the individual track. $pen the Hrouping dialog bo+ for the group and select the reEuired parameters. Double>click on the volume, pan or width value displayed in the track panel. Aelect the track in the Track Control Panel and press 3#if G. Display the drop down group list and select the reEuired group. Aelect the reEuired parameters. Aelect the track in the Track Control Panel and press 3#if G ,nselect all selected items e+cept Group enab+ed Press 3#if G, select the group from the drop down list then click in the Group enab+ed bo+.

-n order o do #is :
Define #e rac&s in a ne% group 9a'e a group Ad6us a++ +in&ed faders for a group Ad6us #e fader for on+y one rac& in a group con aining +in&ed faders Define a pan or vo+u'e re+a ions#ip as reverse for a rac& %i #in a group 5#ange an e1is ing ogg+e para'e er re+a ions#ip Fsuc# as 3o+o; 0u e or Record Ar'G in o a reverse one Cin& 'ore para'e ers for rac&s in an e1is ing group Rese a rac&8s vo+u'e; pan or %id # o i s defau+ va+ue and ad6us se ings for o #er group 'e'bers according+y Add ano #er rac& o an e1is ing group

Re'ove a rac& fro' an e1is ing group

Enab+e$Disab+e group

*ip: :hen you are playing back a song, in the course of editing you may from time to time wish to reset your O, Peaks without needing to stop and restart playback. To clear one peak, simply click on the peak number shown at the right hand end of the O, meter in the TCP or top of the O, in the CP. To clear all peaks, hold down the 5on ro+ key while you do this.

4."4

VU 0e ers on 0u+ ic#anne+ *rac&s

:here a track has more than two channels you have the option of showing the output of all channels on the track7s O, meters in the TCP and i+er. This feature is toggled on and off for any track or track selection by right>clicking over the track panel area ?for e+ample, on the track numberB and enabling or disabling 0u+ ic#anne+ rac&

'e ering on the conte+t menu.

)n the e+ample shown here, a 2ig 0e er layout has been selected for this track in the mi+er.

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Up and Running: A REAPER User Guide v 4.30

4."? Audio 3crubbing

Acrubbing is a techniEue that originated in the pre>digital days when all recording was done with magnetic tape. )t helps you to move within a pro=ect, or track, or group of tracks, to audition or locate a particular section. Acrubbing is most commonly used in &'(P'& when your pro=ect is not playing, but you can over>ride this default setting. To scrub a portion of a song, simply position your mouse over the triangle that is located on the top of the edit cursor, as shown on the right. This causes the mouse pointer to change to a white hand. Iou can then click and drag in either direction. IouFll probably find when scrubbing that you will want to 9oom in Euite closely on your pro=ect. Iou can set your scrub preferences in the Audio; P+aybac& page of the Op ions; Preferences window, as shown below. <otice in particular that Iou can enable or disable scrubbing as the default behavior. Kolding the 3#if key down while dragging the edit cursor will temporarily over ride this setting. This means that even with 3crub$6og source 'a eria+ not selected ?as shown aboveB, you can still use the 3#if key to scrub when you wish. Iou can also choose to be able to engage scrub mode to over>ride normal playback. )f you enable the On+y p+ay se+ec ed rac&s option, then only those tracks currently selected will be heard when you apply scrubbing. Iou can limit the scrub rate ?speedB to no more than normal playback speed. This makes it easier to identify the audio material when scrubbing. ;y default, holding down the 5 r+ key while scrubbing will enable /og mode. )n this mode scrubbing will be much slower. This can help when looking for very short glitches, for e+ample when 9oomed in close.

<otice also ?rightB that if scrubbing is enabled and you have a three button mouse, you can use the ouse odifiers arrange view middle button conte+t to determine =og.scrub behavior.

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? E 0anaging *rac& and - e' F4 ? 0anaging *rac& and - e' F4

:e have already covered the basic techniEues involved in using effects ?Direct 8 and OATB with &'(P'& tracks. :e are now going to look at some of the options available to help manage and use your F8 more effectively. :e7ll be looking in more detail at how you use some of the more important individual effects later ?Chapter %2Bin this section we7re mainly concerned with the broader issues of managing and organising plug>ins.

?."

Grouping F4

F8 can be grouped for your convenience in any way you wish. For e+ample, if you use chorus, delay and reverb a lot, you might wish to create one group called Chorus.Delay and another called &everb. )f there is a set of plug>ins ?for e+ample, ;ootsyB that you use freEuently, you can create a separate group for them. Iou can create as many groups as you wish, and the same plug>in can be placed in multiple groups. For e+ample, you could place the ;ootsy 'picOerb plug>in both in a group called &everb and in a group called ;ootsy.

*o crea e a F4 group: ,se the command Vie%; F4 2ro%ser or the keyboard shortcut 3#if F to open the F8 browser window. &ight click over the te+t 0y Fo+ders where shown ?see aboveB and choose 5rea e ne% fo+der. Type a name, then press En er. *o add F4 o a group: Aelect the category A++ P+ugEins in the left hand panel of the F8 window. This will ensure that all F8 are available to you. Drag and drop the reEuired F8 from the right hand panel to the folder in which you want the F8 to be listed. To drag multiple F8, use 5 r+ with left mouse click to build up a selection, then drag them all together. *o c#ange #e order in %#ic# F4 groups are disp+ayed: &ight click on the name of the folder that you wish to move. From the conte+t menu choose ove to top, ove up, ove down, or ove to bottom.

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Up and Running: A REAPER User Guide v 4.30

*o disp+ay and se+ec fro' a group )n the left panel of the F8 window, click on the name of any F8 group to display its contents in the larger right hand panel. Double click on any F8 name within that group ?listed in the right hand panelB to add it to the current track. *ip: )f you leave the F4 2ro%ser open, you can add any F8 to any track simply dragging and dropping to the reEuired track in the Track Control Panel ?TCPB or i+er Control Panel ? CPB. *ip: Iou can add F8 from an e+isting folder to any track directly from the TCP or CP. &ight>click over the F8 button and choose Add F4 from the menu, then select the folder and finally the F8.

?.!

Fi+ ering *rac& F4

;y entering a te+t string in the Fi+ er +is te+t bo+ in the bottom left corner of the Add F4 window, you can display a list of those F8 which match your criteria. ;efore doing this, you should select either A++ P+ugins from the list of plugin folders, or any particular folder if you wish to restrict your search. )n the e+ample shown here, we have applied the te+t string lim as a filter, in order to see what limiters we have available. The 5+ear Fi+ er button can be used to remove the filter and restore all plug>ins to view. )n addition to being able to clear the filter in this way, you have two options ?on the Op ions menuB which if enabled will ensure that your filters are automatically cleared for you. These are Au o c+ear searc# fie+d on fo+der c#ange and Au o c+ear searc# fie+d on c+ose. This latter option refers to closing the F8 browser window, not closing &'(P'&. &'(P'& will remember your previous filters. Iou can access them from the filter drop down list, by clicking on the down pointing arrow shown here. )n this e+ample, previous searches have included lim ?for limiterB and mi+ ?for mi+erB.

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? E 0anaging *rac& and - e' F4

?.3 3#o%ing V3* Fo+ders

)f you use sub>folders to organi9e effects within a :indows OAT Plug>ins folder then you can display and use this folder structure within &'(P'&7s F8 ;rowser ?(dd F8 windowB. This feature is toggled on and off using the Op ions; 3#o% V3* Fo+ders command. Iou can then select any folder listed in the left pane to display its contents in the right pane of the F8 browser. Iou can right click over any displayed folder name ?see rightB to display a menu of options which includes 3#o% fu++ pa #s o V3*s and -nc+ude p+ugEins found in subEfo+ders. (s in :indows '+plorer, you can collapse or display the various levels of subfolders. &'(P'& will remember your settings so that each time the browser is opened it will recall the layout that was last used before it was closed.

?.4

5opying *rac& F4

(ny track F8 can be copied from one track to any other track, or tracks. :hen a track F8 plug>in is copied in this way, the settings and parameter values are also copied with it. Iou can use standard :indows techniEues like 5 r+ 5 and 5 r+ V if you like, but the simplest way is to simply select the reEuired plug>in the F8 window of your source track and use the mouse to drag and drop to the F8 button of any other track. This can be done from either the TCP ?track control panelB or the CP ?mi+er control panelB.

E1a'p+e
For this e+ample, open the file A++ *#roug# *#e 9ig# Fo+der.rpp that you saved earlier in this section. )f you did not make this file, use any other file which has more than one track. %. Click on the F4 2u on for the track G r 9ec& to open the track7s F8 :indow. !. )nsert the V3* ReaEOF5oc&osG plug>in into this window. 1. Kover the mouse over the te+t OAT &ea'C in the plug>in window. Press and hold down the left mouse button and, holding it down, drag the mouse to point on the track control area of the G r 2ody track ?see rightB. 2. &elease the mouse. The ReaEO plug>in will now have been copied into this track. Iou can of course repeat this as often as reEuired to copy the same plug>in to other tracks. :hen you copy an F8 in this way, any settings and parameter values that you have set will be copied with it. To copy more than one plug>in at the same time from one track to another, use this seEuence%. Click on the first plug>in to be selected. Kold the 5 r+ key down while clicking in turn on each additional plug>in that you want copied. (lternatively, if you want to copy all F8 in a chain, click on the first item, then hold 3#if while you click on the last item in the chain. !. ,se the method described above to drag and drop on or near the F8 button of the track to which you wish to copy your plug>ins.

?.?

F4 Ouic& Disp+ay

Track F8 are listed on a track7s F8 button right click menu ?see rightB. Iou can open the window for any of these F8 direct from this menu.

?.B

0oving *rac& F4

To move ?rather than copyB a plug>in from one track to another, simply hold down the A+ key while you drag and drop.
*ip: Kovering your mouse over any trackFs F4 button causes a tooltip to be displayed, listing the plug>ins present in that trackFs F8 bin. )t displays this information even if the F8 chain is set to bypass.

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Up and Running: A REAPER User Guide v 4.30

?.> 5#anging #e Defau+ F4 9a'e

To change the default name of any Direct 8 or OAT F8 ?but not SAB plug>in Display the F8 ;rowser :indow ?Vie%; F4 2ro%ser or 3#if FB. &ight Click over the plug>in to be renamed. Choose Rena'e F4 from the menu. Type the new name and press En er.

?.@

Rena'ing *rac& F4 -ns ances

Iou can rename individual F8 Plug>in instances so that your custom name is used for that F8 in both Track Oiew and in the i+er. Typically this can be used to describe the purpose of the F8. For e+ample, you might want to rename an instance of &ea'C that has been added to a vocal as 4(dd warmth5 or 4 ore presence5 and so on. To do this, simply select the plug>in and press F!, or follow this seEuence &ight click over the F8 )tem in either the F8 Chain window, or the F8 ;in in the i+er view. From the menu, choose Rena'e F4 ins ance. Type your custom name. Press En er. <ote that your custom name will only be applied to that single instance of the F8 Plug>in in that one track. $ther instances will not be affected.

?.A

Using Defau+ F4 Para'e er 3e ings

Iou can specify that any set of F8 parameter settings is to be used as a default whenever that F8 is applied to any track or item. :hen you have your settings right, click on the small K button and choose 3ave prese as defau+ from the menu. Iou will need to enter a name for the preset. The use of presets is e+plained more fully in Chapter%2.

?."0

Per - e' F4

&'(P'& allows you to apply F8 not only to individual tracks but also to individual media items within a track. Auppose, for e+ample, that you wish to add an effect ?such as reverb or delayB to =ust part of a track. Iou can split the track media into several items and apply the effect only to those items where it is wanted. )f you have selected the option to display the F4 and 9o F4 item icons ?Op ions; Preferences; Appearance; 0edia B you can click on any item7s F4 button to open its F8 window. This topic will be e+plained in more detail in Chapter N. $therwise you can select a media item and use the default keyboard shortcut 3#if E. To add a plug>in to an individual media item, follow this seEuence Aelect the edia )tem. Click on the F4 button or press 3#if E to display the item F8 Chain. The Add F4 o - e' window will be displayed. Double>click on the Plug>)n. (d=ust the parameters. Close the F8 :indow. )f you find this method too 4fussy5 then try this. Iou can simply drag and drop any F8 from the F4 2ro%ser window straight on to any media item. Iou can drop the F8 anywhere on the item. :hen F8 have been added to an item, then the F8 names will be displayed in arrange view together with the item name ?see aboveB.

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? E 0anaging *rac& and - e' F4

*ip: Iou can also add new F8 to an item, or open an e+isting effect for editing, by right>clicking over the item7s F8 button to display a conte+t menu ?see aboveB.

0anaging - e' F4 Q 3u''ary *ab+e

*o do #is : Add a p+ugEin o an i e'8s F4 c#ain Open and vie% an i e'Ns F4 5#ain De+e e an i e'Ns F4 5#ain a+ oge #er ,ou need o do #is : Drag and drop from F8 browser window on to the item. Aelect the item, press 3#if E. Aelect the first item in the chain then hold Ahift while selecting the last item. This will cause all items in the F8 chain to be selected. Then press De+e e. Aelect the items, then drag and drop the F8 from one item to another. )f the F4 button is visible, =ust drag and drop from the F8 button on to the destination item. Ahown here are the settings which determine if and how the various buttons are displayed for individual media items. :e7ll return to this in detail in Chapter N, but for now =ust notice that available item icons ?buttonsB include its lock and mute status, its F8 chain, its notes and properties. )f you enable the option Dra% +abe+s above #e i e' ra #er #an %i #in #e i e' then the buttons will be displayed ?with the item nameB above the item. if you disable this option, they will be superimposed on the media item itself.

5opy an i e'Ns F4 5#ain o ano #er i e'

?.""

Using - e' F4 %i # 0u+ ip+e *a&es

:hen you use the multiple alternative takes method of recording your tracks, each take can be assigned its own media item properties. For e+ample, you can insert separate F8 plug>ins into individual takes, as shown in the e+ample here.

)f you have enabled the options Disp+ay 'edia i e' a&e na'e and Dra% +abe+s above #e i e' ?both under (ppearance, edia, see aboveB, then any F8 chain for the currently selected take will be included in the information displayed. )n the e+ample shown on the right, Take ! is currently active- the F8 names displayed above the item are therefore the F8 assigned to Take !.
)f you wish, you can insert the same F8 into each take and apply different parameter settings for each one.

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Up and Running: A REAPER User Guide v 4.30

?."! Op i'i=ing F4 Perfor'ance

Aome plug>ins can be Euite greedy in their use of CP,. This especially tends to be the case with delay based F8, such as Delay, Chorus, and especially &everb. &'(P'& provides a number of options which you can use to minimi9e the drain placed on your computer resources by your plug>ins. These options can be found in the REAPER Preferences window ?5 r+ PB under the heading Audio; 2uffering. This window is shown and discussed further in Chapter %Q. ThereF is no 4one si9e fits all5 optimal group of settings. :hat is best for you depends on various factors, including which processor?sB you are using and which plug>ins. Kowever it shouldnFt be too difficult to e+periment. <ote in particular the following Try using the default settings for 0edia 2uffering at first. Iou can ad=ust them later. A++o% +ive F4 'u+ iprocessing. Try turning this on if your PC has multiprocessors. An icipa ive F4 processing. This can yield large reductions in CP, usage, but too aggressive a setting can cause pops and crackles on playback. )f working with ,(D>%,for best results, both Aynchronous F8 and ,(D>% Aynchronous modes should be enabled. (nticipative F8 should be disabled. ,(D>!, however, is compatible with (nticipative F8 mode and this is recommended for best low latency performance.. Op i'i=e buffering for +o% +a ency #ard%are .

)f you find that any particular plug>in or% F8 chain gives you problems with media buffering or anticipative F8 processing, you can disable either or both for individual tracks using the *rac& Perfor'ance Op ions on the Track Control Panel right>click menu.

?."3

F4 9o es and 5o''en s

The &'(P'& F8 Chain window includes an area for any 5o''en s ?or notesB that you may wish to make D see e+ample below. Click on the : button =ust above the bypass tick bo+ to add comments. The notes are linked to the individual instance of the specific plug>in. )n the e+ample shown, the comment is only displayed when the 2 band 'C is selected for Track !, the Oo+ Mead. Iou may add notes for all or any of a track7s F8 if you wish, but only one comment at a time will be displayed in the track7s F8 window. Iou can open the comments in a separate window of their own by clicking on that : button . Iou may have as many as you wish of these comment windows open at any time.

?."4

(e $Dry 0i1 and 2ypass

The wet.dry mi+ control was mentioned in Chapter !, but it7s worth another mention. Click and hold your mouse over the small rotary fader near the top right corner of the plug>in window and you will see the wet.dry balance for that plug>in displayed as te+t ?see rightB. (t %""J wet ?the defaultB the plug>in is applied to the track in the way that you would normally e+pect. Click and drag the mouse on this to ad=ust this value to create a mi+ of the dry signal ?the audio stream with no effect appliedB and the wet signal ?the audio stream with the effect fully applied. For e+ample, set to %""J, this mi+ is fully wet. (t "J it is fully dry ?effectively sounding the same as bypassB. (t P"J the dry and wet signals are mi+ed together in eEual amount. ,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. %"2

? E 0anaging *rac& and - e' F4

<otice also that the small check bo+ to the immediate right of this control has a bypass function. Meave it ticked as shown and the effect ?as determined by its various parameter settings including the wet.dry mi+ controlB will be applied to the track. ,ntick this bo+ and the effect is bypassed.

?."?

P+ugEin De+ay 5o'pensa ion

;y default, &'(P'& uses plug>in delay compensation ?PDCB to ensure that audio remains time aligned. )t does this by ad=usting for any latency caused by any plug>in, such as can arise with some convolution reverb plug>ins for e+ample. )f you encounter circumstances in which PDC is creating problems ?for e+amples, dropouts or e+cessive latencyB then it can be disabled for any plug>in from the pin connector button ?shown here labelled 4! in ! out5B conte+t menu.

?."B

Opening a Fi+e in Recovery 0ode

(ny computer program will crash given the right ?or wrong/B circumstances. &'(P'& is very stable, but nevertheless there may be occasions when you e+perience a crash. This can be caused by a problem with some third party OAT, OATi, D8 or D8i plug>in. )f this happens, you should enable the option to Open %i # F4 off+ine Frecovery 'odeG when re>opening the file from the Fi+e; Open pro6ec dialog bo+ ?see rightB. This will open the file with all F8 set offline. ;y reintroducing them online one at a time, you should be able to identify which is the plug>in that is causing the problem. To then fi+ the problem you should remove this plug>in and replace it with another of eEuivalent functionality. (nother method is to hold down 5 r+ 3#if while you open a file from the Fi+e; Recen pro6ec s menu.

?.">

3 e' Rendering

Atem &endering is a techniEue that can be applied to ease your CP, load, to prevent it from becoming overstressed. The item is rendered to a new track, whilst the original track remains but is automatically muted and its F8 are bypassed. )f you later wish to change the F8 in a stem rendered track, you can delete the rendered track, unmute the original, and make your changes. This is how you make a stem track%. )n the *rac& 5on ro+ Pane+ area, right>click over the track number. !. From the menu, choose Render$free=e rac&s, then one of the Render rac&s o : s e' rac&s Fand 'u e origina+sG commands. Iour choices are 'ono, s ereo or 'u+ ic#anne+. The first of these commands will render to a mono item ?as shown hereB. The second will always produce a stereo item. The number of channels produced when multichannel is selected will be determined by the number of channels that you have defined for the track. ;y default, &'(P'& tracks comprise =ust ! channels- in this case, both the stereo and multichannel options will produce the same result. (s well as track F8, any audio or )D) received from sends from other tracks is included in the rendered material. Atem rendering has a similar effect to free9ing tracks ?see section after ne+tB. $ne main difference is that ?unlike free9ingB stem rendering leaves both the rendered and the unrendered tracks in the pro=ect. )f you only wish to render the track F8 without keeping both tracks in the pro=ect, you might wish to consider using one of the Render$free=e free9e actions instead. These are covered in the couple of pages that follow this one.

For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' %"P

Up and Running: A REAPER User Guide v 4.30

?."@ 3 e' Rendering a Group of *rac&s o a 3ing+e *rac&

Iou can apply stem rendering to a group of tracks, so that they will be mi+ed down to a single audio file. To do this%. Put the reEuired tracks in a folder. !. )n the Track Control Panel, select the folder. <o other track should be selected. 1. Choose the Fi+e; Render command. 2. ake sure your selected options include 3 e's Fse+ec ed rac&sG and Channels 3 ereo or 0ono ?as you wishB as shown on the right. )f you wish, also select the option to Add i e's o ne% rac&s in pro6ec %#en finis#ed. P. Aelect your reEuired output format ?e.g. :(OB and format specifications ?e.g. !2 bitB. N. Click on Render " fi+e... )n the e+ample shown below, the output of the Huitars folder has been rendered to a single stereo track. This has been added to the file and the folder has been muted. )f you are working with multichannel tracks you can also render your output in multichannel format. Iou will need to select the reEuired number of channels from the Channels drop down list in the Render o Fi+e dialog bo+. Iou7ll learn more about multichannel rendering in Chapter %3.

?."A

Free=ing and Unfree=ing *rac&s

The Free=e rac&s actions ?from the Track right click menu Render$free=e rac&s commandB are used to free9e any track in place, replacing its contents with a single rendered audio item. The first of the free9e actions shown ?rightB will produce a 'ono audio item, the second s ereo and the third 'u+ ic#anne+ ?according to the number of track channelsB. )f more than one track is selected, each will be rendered separately. $n line F8 are applied to the rendered item, as is the content of any signals sent to the rendered channels from other tracks. :here these include )D) data or items, they will be rendered as audio. ;oth on line F8 and receives are then removed from the track. <ote that a )D) item with no synth attached to it will be rendered as silence. :here a synth is present, it is the output of the synth that will be rendered. :hen a track has already been fro9en, Unfree=e rac&s will appear on the above menu as an action that can be used to restore the track to its state at the point in time that it was fro9en. ;oth the F8 chain and any receives will be restored. $ther points to note are ( track can have further F8 and receives added to it after it has been fro9en. )n this case, if you then free9e the track again, these F8 ?along with audio and or )D) material from the new receivesB will be ,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. %"N

? E 0anaging *rac& and - e' F4

rendered together with the e+isting fro9en material to another new audio item. 'ach unfree9e action will remove the previous free9e on that track and restore it to its state at the time of that free9e action. Thus, if a track has been fro9en, had more effects added and been fro9en again, then you will need to unfree9e it twice if you wish to restore it its state immediately before first being fro9en.

Using #e *rac& 0anager

Free9ing can also be handled using the *rac& 0anager. Choose *rac& 0anager from &'(P'&7s main Vie% menu. Iou can select any track?sB from the list ?in the e+ample shown, tracks 1 and 2 are selectedB then click on the Free=e button for a menu of free9e choices ?mono, stereo or multichannelB. The number of times any track has been fro9en ?up to a ma+imum of 3B will be shown in the Free9e column. )n this e+ample ?rightB, tracks 1 and 2 have now both been fro9en once. The Unfree=e command will be added to the Free9e menu when that menu is displayed with a fro9en track selected. oreover, this menu will also include an option to display the free9e details for that track ?see aboveB. Iou can read more about the Track anager in Chapter %%.

3e+ec ed F4 Free=e

$ther options, available from a track7s F8 chain window, are to free9e a track up to its last on>line or selected F8, as you wish > see above. )n this case, only the first two F8 ?&eaComp and &ea'CB have been selected. The action Free=e rac& o s ereo; up o +as se+ec ed F4 will cause the compression and 'C to be fro9en on to the track. These two F8 will be removed from the track7s F8 chain. The third ?SAB effect will not be rendered to the new audio item. )t will remain, and can be further ad=usted, or removed altogether as the user wishes. $ne useful action ?accessible from &'(P'&7s (ction Mist windowB is Vie%: 3#o% rac& free=e de ai+s. This can be used to display free9e history and details for any fro9en track. Chapter %1 e+plains in detail more about actions and about how you can assign them to toolbars or to your own shortcut keys.

For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' %"#

Up and Running: A REAPER User Guide v 4.30

?.!0 Audio 3igna+ F+o% 5#ar : *rac&s and Fo+ders

The two diagrams that follow ?in this section and the ne+tB illustrate how audio signals flow thru &'(P'&7s tracks to the master and to your output devices. Aome of the items shown in these charts ?e.g. )tem.Take settingsB have not yet been discussed in this ,ser Huide. They will be covered later, mostly in Chapter N.

9o es: %. The track mute button is shown more than once ?near the beginning and near the end of the chainB. This is because it does not only mute at the beginning ?so that for e+ample, all media items are effectively mutedB, it also mutes at the end ?so that, for e+ample, a synth in the track F8 chain that is fed )D) data via a receive from another track is also mutedB. !. )f track mute and track solo buttons are both enabled, then solo overrides the mute. 1. )f the aster is soloed, direct outputs to hardware from tracks.folders will not be processed.

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? E 0anaging *rac& and - e' F4

?.!" Audio 3igna+ F+o% 5#ar : 0as er *rac&
aster Track.

This diagram illustrates specifically the audio flow for the

?.!!

0anaging F4 5#ains and F4 Prese s

F8 Chains and plug>in presets can be backed up and restored using the e+port.import configuration buttons in &'(P'&7s Preferences ?Heneral settingsB. Aee Chapter %Q for more information about importing and e+porting configuration settings.

?.!3

P+ugEins 3e ings

&'(P'&7s Plug>ins settings and preferences are e+plained and discussed in Chapter %Q. Iou can access this settings page directly from any track7s F8 Chain window by choosing the command Op ions; F4 P+ugE ins se ings : from the menu.

?.!4

*rac& *e'p+a es Revisi ed

Don7t forget that as well as saving F8 chains by themselves, you can include them with other track settings ?such as name, pan settings, volume levels, etc.B into track templates. &emember too that you can use the *rac&; 3ave rac&s as e'p+a e command to save a whole selection of several tracks into a single track template. Aee also Chapter 1.

?.!?

ReaEffec s User Guide 3upp+e'en

Iou will find many e+amples in this ,ser Huide of the use of various C$C@$A effects, especially in Chapter %2. )n addition, a free PDF &eaper C$C@$A 'ffects Aummary guide can be downloaded from the following ,&M# p:$$%%%.coc&os.co'$<g+a=fo+&$ReaEffec sGuide.pdf <ote that this link is case sensitive.

For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' %"Q

Up and Running: A REAPER User Guide v 4.30

,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. %%"

B E Edi ing *rac&s and - e's B

B."

Edi ing *rac&s and - e's

Using an E1 erna+ Edi or

Iou can specify up to two third party programs ?such as (dobe (udition, (udacity, :avosaur or Aound ForgeB which you wish to integrate with &'(P'& for editing your media items. To do this%. Choose the Op ions; Preferences command, then E1 erna+ Edi ors. !. Click on the Add button 1. ,se the 2ro%se buttons ?shown rightB to identify and select your preferred wave editor or editors. 2. Click on OI, then OI to close the Preferences window. <otice that you can specify different editors for different file types, e.g. :(O, P1, idi. *o use your e1 erna+ %ave edi or: There are two main ways you can access your preferred e+ternal editing program from within &'(P'& Aelect the media item and press 5 r+ A+ E. :ithin a &'(P'& pro=ect, right click over the media item that you wish to edit. From the menu, choose either Open - e's in edi or then, from the sub>menu, select either the option to open the item itself or to open a copy of the item. ,nlike versions of &'(P'& earlier than 2.", by default double>clicking on an audio media item will no longer open it with your primary editor. This behavior can be changed thru the Preferences, Edi ing 2e#avior; 0ouse 0odifiers page if you wish. This topic is covered in Chapter %1.

)f the e+ternal editor works destructively on your files then the safer option is to open a copy. This copy will then be inserted into your track when you save it, close the editor and return to &'(P'&.

B.!

Edi ing - e's in REAPER

The topic of editing items in &'(P'& is a big one. &'(P'& features a comprehensive range of editing techniEues for managing the items within your pro=ects. )f you have worked with other audio software, you might find &'(P'&7s ways a little strange at first. The first Euestion you might have when you look at the screen is, 4:here are all the editing tools/5 The answer is G there arenFt any* (t least, there arenFt many the first time that you use &'(P'&* ;ut as you are about to see, that doesnFt mean that &'(P'& isnFt up to the =ob. Iou =ust get the wave editing features that you need, but without the screen clutter. :hat7s more, you can create and add as many editing tools of your own as you like. :e7ll get to this in Chapter %1. There are some basic concepts that you need to understand about &'(P'&Fs design philosophy and structure For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' %%%

Up and Running: A REAPER User Guide v 4.30

before learning individual editing techniEues. For e+ample )tem 'diting in &'(P'& is non>destructive. 'dits made to items are uniEue per item and do not alter the content of the source file. Iou can e+periment knowing that your original recorded files are safe. )tem 'diting in &'(P'& basically consists of selecting an item, or a portion of an item ?rangeB, then doing something to it D such as splitting it, deleting it, copying it or moving it. Aometimes a number of steps might be reEuired to achieve an editing task. )f so, you can assign a single keyboard shortcut to the entire seEuence. Sust how to do this is covered in Chapter %1. )f you really miss having editing tools, then fear not. Iou can Euite easily create your own tools and toolbars for this ?or any otherB purpose. This topic is covered in Chapter %1. To a very large e+tent, you can customi9e &'(P'&Fs editing behavior thru the Edi ing settings within your Op ions; Preferences window. :e7ll get to this later in this section. )n a moment, we7ll be working thru &'(P'&7s many editing facilities and features. ;efore we do, don7t forget that when you are editing you have available not only the Edi , Undo command but also the Undo )is ory window ?covered in Chapter !B. &emember that if you get into trouble, this ,ndo Kistory window can be used to restore a pro=ect file to any earlier state. Kow to enable these various options is e+plained in Chapter !.

B.3

REAPER8s 3'ar Edi ing

&'(P'&7s smart editing features enable you to do many of the most commonly reEuired editing tasks Euickly and easily. )n this section, we will look at smart editing techniEues for moving, copying and deleting media items, selections of media items and parts of media items. To use them, make sure that the option Coop Poin s Cin&ed o *i'e 3e+ec ion is disab+ed. The table below shows &'(P'&7s default behavior for various mouse actions. Iou can change any of these by selecting the conte+t 0edia i e' and Cef drag on the 0ouse 0odifiers page of your Preferences. *o do #is %i # #e 'ouse : 0ove i e' or se+ec ion of i e's ignoring i'e se+ec ion 0ove i e' or se+ec ion of i e's ignoring snap and i'e se+ec ion 5opy i e' or se+ec ion of i e's 5opy i e' or se+ec ion of i e's ignoring snap 0ove i e' con en s F%i #in i e'G Ad6us i e' pi c# fine Render i e' o ne% fi+e 5opy i e'; poo+ing 0-D- source da a Ahown right is an e+ample of how you might change any of these. )n this e+ample, we are in the process of changing the default click and drag behavior from 0ove i e' ignoring i'e se+ec ion to 0ove i e': 6us 'ove. This will enable us to move any selected area of an item =ust by dragging and dropping it. Iou7ll find more of that in Chapter %1. ,ou need o do #is : Drag and drop. 3#if drag and drop. 5 r+ drag and drop. 3#if and 5 r+ with drag and drop. A+ drag and drop. 3#if and A+ drag and drop. 5 r+ and A+ drag and drop. 3#if 5 r+ and A+ drag and drop.

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B E Edi ing *rac&s and - e's

B.4 3 andard (indo%s Edi ing

any of the basic editing tasks that you will be performing in &'(P'& involve the use of fairly intuitive standard :indows procedures for selecting and manipulating items. There are also some e+tra ones. Kere is a summary.

3e+ec - e's
Aelect an item by clicking on the item. Aelect multiple items by using 5 r+ 5+ic&. Aelect ad=acent items by using 3#if 5+ic&. Aelect groups of items by right>clicking and dragging a marEuee around the items. )t is not necessary to marEuee the whole of an item to select it ?see above rightB. The marEuee feature can, however, be made to behave differently by using any of a number of modifier key options ?see 0arJuee 0odifiers table belowB. These techniEues can be used in &'(P'& in several conte+ts D for e+ample, 5 r+ 5+ic& and 0arJuee can also both be used to make multiple note selections in the )D) 'ditor ?see Chapter %!B.

3p+i - e's
Aplitting items is used in several &'(P'& editing functions. ;e sure to familiarise yourself with the following )f no item is selected, pressing 3 will do nothing. )f item?sB are selected, pressing 3 will split all selected item?sB at the edit cursor position. )f there is a time selection current, pressing 3#if 3 will split all selected )tem?sB at the beginning and end of the time selection. )f an item with any F8 is split, then both the resulting items will contain the F8. This can be changed in your Op ions; Preferences; 0edia page by disabling the option Dup+ica e a&e F4 %#en sp+i ing i e's.

)ea+ 3p+i - e's

To reconnect media item that have previously been split Aelect the media items in the track. &ight click over any media item within the selection and from the menu choose )ea+ sp+i s in i e's. Keal is different from Hlue. )n short, heal restores items to their original state, whilst glue renders them to a new file. Hlue will be discussed later in this chapter. <ote also that if a number of previously split items each containing an F8 chain are healed, then only the F8 Chain of the first of the items is retained.

5u $5opy - e's
(part from smart editing ?see previous sectionB there are other ways to copy or cut items in &'(P'&. These are based on standard windows techniEues ,se the keyboard shortcut 5 r+ 3#if 5 to copy or 5 r+ 3#if 4 to cut any selected item?sB in its entirety. <ote that if a time selection is current, 5 r+ 5.5 r+ 4 will copy.cut only that current time selection, not the whole item. Iou can use the (ctions 'ditor ?Chapter %1B to change this behavior if you wish. &ight>click on an item and select 5opy i e's or 5u i e's from the menu. Aelect an item, then select Edi ; 5opy i e's$ rac&s$enve+ope poin s ignoring i'e se+ec ion or 5u i e's$ rac&s$enve+ope poin s ignoring i'e se+ec ion from the menu. 9o e: 5opying 0-D- - e's in Arrange Vie%- Apecial considerations that need to be taken into account when you are copying )D) ?rather than audioB items in arrange view. These are e+plained in Chapter %!.

Pas e - e's
,se 5 r+ V to paste an item at the cursor position. )f a track is selected, the item will be pasted into the selected track. )f no track is selected, the item will be pasted into the last track that was selected in the TCP. )f you give focus to the main arrange view window before pasting, a new track will be created. Aelect a track and use Edi ; Pas e to paste the item at the current edit cursor position.

5opy or 5u Par of an - e'

For those times when you prefer not to use smart editing you can use the :indows clipboard. Aelect the item then make the time selection. To copy or cut the selected area, first make sure that focus is on the main arrange view window, then to copy use Edi ; 5opy i e's$ rac&s$enve+ope poin s %i #in i'e se+ec ion or right>click on the item and select 5opy se+ec ed area of i e's from the menu, or press 5 r+ 5, or For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' %%1

Up and Running: A REAPER User Guide v 4.30

To cut the selected area, use 5u i e's$ rac&s$enve+ope poin s %i #in i'e se+ec ion or right>click on the selected area and select 5u se+ec ed area of i e's from the menu, or press 5 r+ 4. Aelect a track in the TCP, position the cursor in arrange view and choose Edi ; Pas e from the menu.

De+e e - e's
Delete completely removes the item from the track. <ote that it does not remove the media file from the pro=ect directory. There are several ways to delete items. :here an item has several takes, any of these actions will delete all takes, not =ust the active one. Aee Chapter # for how to deal with individual takes. ,se the De+e e key to delete selected item.s. &ight>click on a selected item and select Re'ove i e's. This will delete any selected items. Aelect - e'; Re'ove i e's from the main menu. 3#o% Over+apping - e's -n Canes Iou might wish to place several overlapping media items on one track. )f so, consider whether or not you wish to crossfade them. Crossfades can be applied manually, or automatically, by enabling the (uto Crossfade tool on the toolbar. Crossfade behavior can also be managed using the Crossfade 'ditor which will be e+amined later in this chapter. Iou might also wish to enable 3#o% over+apping 'edia i e's in +anes on the Op ions menu. The ma+imum number of lanes to be used can be set on the Appearance page of your Preferences.

0ove - e's: 3pecia+

Ahortcut keys e+ist for moving items in ways that might be difficult to control with the mouse. For e+ampleDefau+ 3#or cu Iey 9u' Pad " 9u' Pad 3 9u' Pad 4 9u' Pad B 9u' Pad @ 9u' Pad ! Purpose Alide item a little to the left Alide item a little to the right ove item a little to the left ove item a little to the right ove item up one track ove item down one track

9o e: This feature is often referred to as 4nudge5. :ith &'(P'&, nudging is relative to the screen display. For e+ample, if you are 9oomed in very closely on an item, then nudging left or right will move or slide it backward or forward thru a much smaller unit of time than if the view was 9oomed out to the full pro=ect. *ip: Double click on a trackFs inde+ number in the Track Control Panel to select all the items in that track.

0arJuee 0odifiers
odifier keys e+ist for changing the marEuee behavior when you right>click and drag. ;y default, these are-0odifier IeyFsG Rig# Ec+ic& drag Fno 'odifierG 3#if Rig# c+ic&Edrag 5 r+ Rig# c+ic&Edrag A+ Rig# c+ic&Edrag 3#if A+ Rig# c+ic&E drag Purpose arEuee select items. arEuee add to item selection. arEuee toggle item selection arEuee select items and time arEuee select items and time ignoring snap.

Iou can change any of these modifiers and.or add others of your own choosing, using the 0ouse 0odifiers page of your &'(P'& Preferences. ore information about how to do this is given in Chapter %1.

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B E Edi ing *rac&s and - e's

B.? Edi ing 2e#avior Preferences

Familiarise yourself with &'(P'&Fs main editing behavior preferences and how they work. )f you do, you will find life getting a lot easier* They are displayed on the Edi ing 2e#avior page of the Preferences window. These are e+plained in Chapter %Q, but in short, some of the most useful of these include :hether to move the edit cursor when performing various actions D e.g. changing time selection or inserting media. :hether by default to link loop points to time selection. :hich focus point to use as the center when 9ooming hori9ontally and vertically. These two important options put you in control of &'(P'&7s 9oom behavior. Aelecting mouse cursor allows you to simply point and 9oom with the mousewheel. The option whether to move the edit cursor when selecting a media item is no longer on this page, but can now be set using the 0edia i e' +ef c+ic& conte+t on the mouse modifiers page. The default behavior for this is 3e+ec i e' and 'ove edi cursor but this can be changed to =ust 3e+ec i e'.

B.B

3epara ing Coop 3e+ec ion Fro' *i'e 3e+ec ion

The setting Cin& +oop poin s o i'e se+ec ion ?on your Preferences, Edi ing 2e#avior pageB determines whether by default the loop points are linked to your time selection. :hen linked, this means that when you select a time area other than that currently selected, the loop selection changes with it. (t any time you can override the default behavior by using the toggle command Coop poin s +in&ed o i'e se+ec ion on &'(P'&7s main Op ions menu. 'ven when this option is disabled ?i.e. not tickedB, you can still use the A+ key while you click and drag along the timeline to set both the time selection and the loop selection together.

E1a'p+e
For this e+ample we will be assuming that Coop poin s +in&ed o i'e se+ec ion has been turned off. )n this first e+ample, we have dragged along the timeline to create a loop. <ow we have dragged within the track area, =ust below the media item. ( new time selection is made within the loop area, but the original loop selection remains. <e+t, we have right>clicked over the area and chosen 3p+i i e's a i'e se+ec ion from the menu. :e now have a separate item ?for e+ample, to be muted, or to which we could add F8B, but the original loop area is still selected. Kere we have muted the previous ?and now splitB time selection, and made another new time selection, which we could also edit as reEuired. <otice that we can carry on working with different times selections, but our original loop area remains intact. Iou can play this looped area over and over again while working on different time selections within it. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' %%P

Up and Running: A REAPER User Guide v 4.30

B.> 3napping %i # 5o'bined 3nap$Grid 3e ings

Iou have already learnt ?Chapter 2B how to define grid settings. These determine whether or not a grid is displayed in your track area, and if so how that grid appears. The 3nap$Grid 3e ings window ?shown belowB can also be used if you wish to ensure that various actions ?including time or loop selectionB and.or items are automatically snapped into position according to your settings. This, for e+ample, might be to the nearest beat. The Anap.Hrid Aettings dialog bo+ is accessed by choosing the Op ions; 3nap$Grid 3e ings command, or by the keyboard shortcut A+ C, or by right clicking on the Hrid button on the &'(P'& toolbar. The keyboard shortcut A+ 3 is used to toggle the Anap feature on and off. Iou can decide whether you want snapping applied in all or any of a number of ways, including0edia - e's: 'nsures that media items

when created, moved or edited will be snapped to your settings > at their start, at both the start and the end, or as determined by the mouse position at the time. 3e+ec ion: Determines whether your time and loop selections should be snapped. 5ursor: Determines whether your cursor should be snapped. 5ursor o edge of 'edia i e's on any rac&: Hood for navigating to item start, end, splits, etc. 3nap o pro6ec sa'p+e ra e: 'nables items to be snapped to items samples, cursor, markers, loop points and envelope points to snap to samples.
<otice the 3nap Dis ance settings. These enable your snapping to be more fle+ible. For e+ample, you might set your grid spacing at, say P" pi+els, specify snap distance of, say, P pi+els and turn off the option to 3nap o grid a any dis ance. This will ensure that snapping to grid will occur only when you click the mouse within P pi+els of one of the grid lines. $therwise, the cursor will be positioned at the e+act place where the mouse is clicked. <otice that you also have the option to make snapping Re+a ive o Grid.

B.@

3napping %i # 3epara e 3nap and Grid 3e ings

)n the above e+amples, &'(P'& was set up to use the same set of snap parameters for grid display as was used for snapping. )n other words, the snapping would take place to the nearest grid position. Met7s now see what we can do if we disable the option Grid snap se ings fo++o% grid visibi+i y. :e have also changed the 'ini'u' pi1e+s setting for grid +ine spacing, in this case to !" pi+els, whilst still specifying ?at the point where the cursor is shown on the screen shotB a grid snap spacing of one si+teenth beats. This produces a less cluttered display on the screen. Provided you have 9oomed into your

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B E Edi ing *rac&s and - e's

pro=ect sufficiently, gridlines will be shown for every Euarter beat but snapping will take place between as well as on the gridlines, at every si+teenth beat. <otice also the 0edia i e's snap o option. This can be set to 3nap bo # s ar $end, On+y snap a s ar $snap offse or 0ouse posi ion dependen ?that is, at whichever position the mouse is nearer at the time, the start or the endB. *ip: :hen snapping is enabled, this can be over ridden when selecting a loop along the timeline by holding down the 5 r+ key while you make the selection.

B.A

*ri' 2e#ind (#en Edi ing

The toggle command Op ions; *ri' con en be#ind 'edia i e's %#en edi ing can be used to ensure that e+isting material is effectively replaced by new material which as a result of some editing action is placed over it. This option is also available by right> clicking on the (uto Crossfade icon on the main toolbar. The easiest way to understand what this feature does is to look at an e+ample of what happens when you move one item onto another with 4trim behind5 disabled and enabled. )n this e+ample, we are assuming that auto>crossfade has been turned off. Met7s first recall how &'(P'& behaves with trim behind disabled ?the default settingB.

%. Ahown left are two guitar tracks.

!. :e drag and drop the item from the second track over the top of the first. 1. )f we now enable free item positioning on the track and increase the track height, by dragging the item on top below the original media item we can see that both the original item and the new item are now stored in this track. Met7s now see what happens if we repeat this e+ercise, but this time with the option *ri' con en be#ind 'edia i e's %#en edi ing enabled. Ateps one and two would appear to be the same as before. ;ut look what now happens at step 1This time, when we allow free item positioning and drag the new item down, there is nothing behind it* The original item has been replaced with the new one. This e+ample has been included only as an illustration and an e+ample. )t does not mean that you have to make use of free item positioning if you wish to work with 4trim behind5 enabled.

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Up and Running: A REAPER User Guide v 4.30

B."0 *#e 9udge$3e - e's (indo%

The 9udge$se i e's window can be opened from the media items right>click conte+t menu. Iou can use the (ctions Mist editor to assign this action to a keyboard shortcut, or the Customi9e enus.Toolbars editor to assign it to a toolbar. The use of both the (ctions Mist editor and the Customi9e enus.Toolbars editor is covered in Chapter %1. $nce opened, this window stays open until you close it. Iou can select any item ?or a number of itemsB and use this window to nudge or set a position. '+actly how this behaves will at times depend on your other settings ?for e+ample, snap settings, and whether or not the item is loop enabledB. The main options and parameters in this window are described in the table below, moving from left to right. - e' Ac ion E1p+ana ion Choose 9udge or 3e . :hich of these you choose will determine how &'(P'& will interpret the Uni information. )f you choose <udge, the item will be moved according to the unit specified by the amount specified. )n the e+ample shown above, the item position would be moved %" ms to the left or right ?depending on which <udge button is clicked. )f you choose Aet, the item will be moved to the position specified. 9udge$3e Defini ion Determines e+actly what will be nudged or set. Iour choices arePosi ion Cef *ri' Cef Edge Rig# Edge 5on en s Dup+ica e :hole item- the whole item will be physically moved The item is trimmed from the left The left edge is moved The right edge is moved The item itself remains static, its contents are moved within it Creates duplicate item?sB

:hether the movement is left or right will depend on which button is clicked. )f Dup+ica e is selected, you will be able to specify number of copies reEuired. Uni Va+ue Determines the number of units by which the item will be nudged. This information needs to be interpreted together with the Uni *ype selection. )n the e+ample shown above, the unit type is milliseconds and the unit value is %". $ptions include milliseconds, seconds, grid units, measures.beats, samples, frames, pi+els, item lengths, item selections and notes. )f notes is selected, an additional drop down list offering various fractions of a note ?from %.!PN to wholeB is also displayed. :hether to enable or disable snapping. These buttons are displayed only if <udge is selected. They determine whether to nudge the item?sB to the left or to the right. These buttons are only displayed when Aet is selected. Ge 5ursor returns the current cursor position and writes it in the 4 o:T bo+. App+y 0ove moves the item according to the various options and settings, including the position specified in the 4to-5 bo+.

Uni *ype

3nap o Uni 9udge Cef 9udge Rig# Ge 5ursor App+y 0ove

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B E Edi ing *rac&s and - e's

B."" 0edia - e' Proper ies

(ll media items have a page of property settings which help determine the behavior of that item. $ften, editing in &'(P'& consists of selecting an e+isting item ?or creating a new oneB and then changing its properties. To display an item7s properties, select it then press F!, or right click and choose - e' Proper ies, or click on its properties button ?if visibleB. For audio ?but not )D)B items, you can also double>click on the item to do this. The edia )tem Properties bo+ will stay open until you close it. )f you leave it open, its contents will reflect the properties of whichever item or items is.are currently selected at any time. Iou donFt need to understand every single one of these properties before you get started, =ust to know where this information is accessed and changed. The main properties contained within this dialog bo+ are Posi ion- entering a precise figure here will move the start of this media item to that position. Ceng # of media item ?shown in time or beatsB Fade -n and Fade Ou - you can define both the length and the shape, also enable or disable Au ofades. 3nap offse - The amount of offset from the default snap position if snapping is enabled. - e' i'ebase- Defaults to pro=ect timebase but can be changed ?time, beats, etc.B. - e' 'i1: 'ffectively whether to replace or mi+ when an item is placed over another. Defaults to pro=ect default. Coop source- whether or not the item is looped. 0u e s a us- whether or not the item is muted. - e' +oc& s a us- whether or not the item is locked. :hether or not to p+ay a++ a&es. $bviously, this only applies where two or more takes e+ist. Ac ive a&e file name. (ctive a&e na'e. ;y default &'(P'& will use the media item file name, but you can change this. Pi c# ad=ustment. 3 ar in source: sets start time. P+aybac& ra e. For e+ample, type 1! to double the playback rate of all items currently selected. :hether to preserve i e' pi c# when the playback rate is changed. (d=ust Vo+u'e and Pan, 9or'a+i=e Oolume. 5#anne+ 'ode- this is discussed shortly. :hether to inver p#ase. (dd or remove *a&e enve+opes. :hich a+gori #' is to be used for pitch ad=ustment. This is obtained by default from the pro=ect settings. The option to use only a sec ion of the media item. $ptions to reverse the item. '+amine the media item source file7s proper ies. Choose a ne% fi+e to replace the e+isting source file. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' %%Q

Up and Running: A REAPER User Guide v 4.30

Rena'e the source file. (ccess the 9udge$3e dialog bo+ for this item. $pen the F4 5#ain window for this take.item.

(fter making any changes, use the App+y button to apply them and leave the window open, or OI to apply them and close the window, or 5ance+ to close the window without applying changes. There is also an option ?right>click on title barB to App+y c#anges af er ! seconds of inac ivi y that you can enable if you wish. Aome of these options D such as Coop 3ource and 5#anne+ 0ode D are also available on the - e' 3e ings menu. )n addition, for many of them @eyboard Ahortcuts either already e+ist or can be defined. Iou will be shown how to create your own keyboard shortcuts in Chapter %1 when we e+amine the Ac ions Cis Edi or. *ip- To change a property ?e.g. playback rateB of several items at once, simply select all of the items then, with the edia Properties window open, make whatever changes you reEuire.

B."!

0edia - e' -cons

For several of the settings in the )tem Properties dialog bo+ there are icons ?buttonsB available that can be used as a Euick way of accessing these commonly used features. The display of buttons is turned on and off in the Appearance; 0edia page of the Preferences settings. The icons are listed in two rows. Ticking options in the first row means that the icons will be displayed only when the item has been enabled ?by a keyboard shortcut, the menu, or the )tem Properties dialog bo+B. Ticking options in the second row means that the icons will be displayed whether the feature is enabled or not. For e+ample, if you tick the 0u e option in the first row but not the Un'u ed option in the second, then the mute button will be displayed only when the item is muted. The button indicates the track7s mute status and can also be used to unmute it. )f you choose to tick this item in both rows then the mute button will always be displayed ?provided there is sufficient roomB on all media items, and can be used as a toggle. 'nabling Proper ies Fresa'p+ed on+yG means that this button will only be displayed if an item is resampled. )n the e+ample shown ?leftB we have two media items, both with lock status, notes, mute and F8 buttons displayed. The first item is muted and the second item is locked. :hether your icons are displayed above the media items or superimposed upon the media items will depend on your preference setting ?on the same preferences pageB for the option Dra% +abe+s above i e' ra #er #an %i #in i e' . <ote that even if you have this option enabled, it will only be applied if there is sufficient track height. Iou7ll find more information about other settings on this Appearance, 0edia page in Chapter %Q.

B."3

- e' 9o es

The <otes button ?or the - e' se ings; - e' no es : command from the right>click menuB can be used to open a te+t bo+ that can be used to enter any te+t notes for that item. :hen notes have been entered, a small <otes icon will appear on the item. Kovering the mouse over this icon will cause the notes to be displayed as a tool tip. Click on the icon to open and edit the <otes window. :ithin the 9o es window, click on the Coad button to load any .P<H or .SPH image file. The option Use as i e' bac&ground can be selected to display that image with the icon. $ptionally, you may also choose to 3 re c# o fi i e'. (n e+ample of a media item displaying an image is shown here. )cons can also be inserted into media items by dragging and dropping from '+plorer.Finder.

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B E Edi ing *rac&s and - e's

B."4 5o+oring -ndividua+ - e's

Iou can change the colors of individual media items ?or selections of media itemsB by first selecting the items and then displaying the conte+t menu and choosing - e' and a&e co+ors, then 3e i e's o cus o' co+or or 3e i e's o rando' co+ors or 3e i e's o one rando' co+or. Iou will need to ensure that at least one of the options to tint media item waveform peaks and.or backgrounds with - e' co+ors is enabled on the Appearance, 0edia page of your Preferences ?see aboveB. E1a'p+es )n the e+ample below, our vocal track has been split into several individual items. Met us suppose that these include several verses and choruses, and that for whatever reason we wish to easily identify the choruses. :e can select the chorus items, then right>click over any item in the selection and choose - e' and a&e co+ors; 3e i e's o cus o' co+or from the menu. ?These commands are also available on the main Edi menuB. :e can then select any color we wish from the 5o+ors dialog bo+ and click on OI. These items are now shown in the selected color.

$ther similar commands include 3e i e's o rando' co+or and 3e i e's o one rando' co+or. To remove a custom color, choose 3e i e's o defau+ co+or.

B."?

Ad6us ing - e' Vo+u'e

;esides using envelopes ?which we7ll get to in Chapter %NB there are three main methods available to ad=ust the volume of individual media items. They are ,sing either the item volume handle or the item volume button. ,sing the volume fader in the )tem Properties bo+. <ormali9ation.

B."?."

*#e - e' Vo+u'e Inob$- e' Vo+u'e )and+e

The Appearance; 0edia page of your Preferences settings includes the option to use either an - e' vo+u'e &nob or *op edge of 'edia i e' ?item volume handleB as a Euick and easy way to ad=ust the volume of individual media items. The - e' vo+u'e &nob is shown here ?rightB. Click and drag on this, up or down to increase or decrease item volume. Double>click to reset to "."d;. To ad=ust several items at once, select the reEuired items then ad=ust the knob on any one within the selection. The - e' vo+u'e #and+e is a hori9ontal bar that sits across the top of each of your media items. )nitially it will not be visible until you hover your mouse over the top of the media item to reveal a double headed vertical arrow. Iou can click and drag with your mouse down to lower the volume level ?see first illustrationB. To pick up the handle from the top of the media and increase the volume from there, hold down the 3#if key while dragging ?see second illustrationB.

,se the 5on ro+ key while ad=usting either the item volume knob or handle for fine ad=ustments. *ip: )f you want the item volume handle when set to "." d; to appear half way up your media items ?rather than at the top edgeB, choose the Op ions; Preferences command, then on the 0edia page set 0edia i e' ad6us 'en range to Einf...KB d2. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' %!%

Up and Running: A REAPER User Guide v 4.30

B."?.! *#e Vo+u'e Fader

The )tem Properties dialog bo+ includes a hori9ontal fader ?to the left of the normali9e buttonB which can be used to raise or lower an item7s volume. (fter ad=usting the level, click on App+y to apply it to the item. This method is useful especially if you are making ad=ustments to both volume and pan settings together, or if you do not wish the item volume handle to be displayed.

B."?.3
can be %. !. 1.

9or'a+i=ing - e's The term normali9ing refers to ad=usting the volume of an item ?or selection of itemsB to a standard level. This

especially useful if some of your tracks have perhaps been recorded at too low a level. To do thisAelect any item ?or group of itemsB to be normali9ed. &ight click over the selection. Choose - e' processing then either 9or'a+i=e i e's or 9or'a+i=e i e's Fco''on gainG from the menu. ,se the co''on gain option if you want the level on all items to be raised by the same amount, or relative to each other. This will be the amount by which the loudest of the items can be increased without clipping. )f you want every selected item to be normalised independently do not select the common gain option. This can be e+pected to result in a greater increase in volume for some items than if common gain had been selected. (ny individual item can also be normalised by clicking the 9or'a+i=e button inside the )tem Properties dialog bo+. This is especially useful if you need to make changes to other item properties while you are normali9ing.

B."B

5#anging - e' 5#anne+ 0ode

&ight clicking over any edia )tem and choosing - e' se ings from the conte+t menu causes a sub>menu to be displayed. <otice in particular that for stereo media items, you have a number of 5#anne+ 0ode options ?also available in the )tem Properties dialog bo+B. These include 9or'a+: maintains or returns the stereo item to its original channel state. Reverse 3 ereo- swaps left and right channels. 0ono FDo%n'i1B: combines both left and right channels into a single mono channel. 0ono FCef G: produces a single mono channel using only the output from the original left channel only. 0ono FRig# G: produces a single mono channel using only the output from the original right channel only. For multichannel items ?see Chapter 1B you have also the option of mi+ing down in mono or stereo to channels other than % and !.

E1a'p+es
Aome e+amples are illustrated below. <ote that these changes are non>destructive. Iou can switch an item between these different states as often as you wish. For e+ample, to convert a stereo media item to two mono items Euickly and easily, you can simply duplicate it, then set one to ono ?leftB and the other to ono ?rightB

0ode: 9or'a+

0ode: Reverse 3 ereo

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B E Edi ing *rac&s and - e's

0ode: 0ono FDo%n'i1G

B.">

*a&e 3ource Proper ies

The *a&e 'edia source section of the edia )tem Properties dialog bo+ can be used to view the properties of the currently selected take, or to change or rename its source file. :here the media item consists of only one take, then the terms 4take media source5 and 4item media source5 become synonymous To change the media item contents click on 5#oose 9e% Fi+e, or to rename it use the Rena'e Fi+e option. Iou can click on the Proper ies button to display information about the format of the original (udio file or )D) recording which is the source of the item. )n the case of )D) items, you can also modify some properties, such as restricting which channels are played. '+amples are shown below-

B."@

REAPER Edi ing and Audi ioning E1a'p+e

ost new users of any digital audio software struggle with editing at first, especially if they are used to another program which uses different techniEues. The best way to understand whatFs going on is to work thru some e+amples. These e+amples assume that you have the option to Mink loop points to time selection enabled. $pen the file A++ *#roug# *#e 9ig# .RPP. ,se the Fi+e; 3ave Pro6ec As command to save it as A++ *#roug# *#e 9ig# ED-*3.RPP. The e+amples that follow are designed to help you to learn and understand the use of &'(P'&. They are not intended to cover every possible feature D you can e+plore these for yourself D nor is it suggested that they represent a particularly good arrangement of this song. ;y way of preparation, set pan the two guitar tracks 11J left and 11J right respectively.

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Up and Running: A REAPER User Guide v 4.30

%. :e are going to make a copy of the ;ou9ouki track and then play around with the sound. )n the Track Control Panel, right click over the Track name or number for this track, then from the menu choose Dup+ica e rac&s. Change the name of this new track to 2ou=ou&i 5opy. Press 5 r+ 3 to resave the Pro=ect File. )n the Track Control Panel, click on the track number for the first ;ou9ouki Track then hold the 5 r+ key and click on the track number for the second track. ;oth tracks are now selected. Click on the 3o+o button for either track D both will be soloed. ,se the mouse to lower the volume fader on either track to around D#d; D both tracks will be lowered. (s you get near to the D#d; mark, hold the Ctrl key down for more precise movement. Kolding down the 3#if key, move the Pan fader for the first ;ou9ouki Track to around PPJ left, and, still holding the 3#if key, move the Pan fader for the second ;ou9ouki track to around PPJ right. &ight click over the edia item for the second ;ou9ouki Track. Choose - e' proper ies from the menu. Change 3 ar in 3ource to E 0:00.00>. Click on App+y then OI. This causes this item to be nudged # milliseconds to the right. This adds a very small delay effect to make the instrument sound fuller. Press 5 r+ 3. Play the Aong. :hile it plays, hold down 5 r+ and click on the 3o+o button for either of the ;ou9ouki tracks. This clears both the Aolos.

!. 1.

2. P.

N.

#.

3. Q.

%". &ight click =ust beneath the *rac& 5on ro+ Pane+ area and choose 3#o% 'as er rac&. %%. (d=ust panning and volume for the various tracks to get a reasonable mi+. Iou might end up with something similar to that shown above. Press 5 r+ 3. %!. )n the e+ample shown, you might be happy with the overall balance between the different tracks, yet the overall volume of the aster might be =ust a tad too loud in parts. %1. $pen the F4 bin for the aster and insert into it the /3$U i+i y Ci'i er. Aet the ma+imum volume of the limiter to D".P. Close the F8 window, and make sure the Oolume Fader for the aster is set to "d;. Iou can now play the song without clipping. %2. <otice there is an e+tended period at the end of the song that we might wish to remove. Position the Play Cursor at around the position shown ?aboveB. ake sure that no track is selected, then press the letter 3 to split all tracks at the cursor mark. %P. <ote that whereas before each track consisted of one item, each now has two items. The items ?to the rightB that you have =ust created by splitting should still be selected. )f they are not, right>click and drag over them to marEuee ?selectB them. %N. Press De+e e to remove these items. Press 5 r+ 3 to save. %#. <ow weFre going to mute part of an item. :e first need to make a separate item containing =ust the area to be muted. ,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. %!2

B E Edi ing *rac&s and - e's

%3. Aelect the media item for the Vo1 track. Position the 'dit Cursor round about the PN second mark. %Q. Press the < key ?3#if RB to ma+imise the current track. Press 5 r+ A+ Up or 5 r+ A+ Do%n until the Vo1 track is displayed. (t this level of magnification you can see that some unwanted sounds have been recorded during a passage when the singer is not singing. (s likely as not, this is probably headphone bleed. :eFre going to get rid of it. !". )f you want to hear it first, you can 3o+o that track and play it. DonFt forget to ,nsolo when finished. !%. Oiew the 2ig 5+oc&. :ith the edit cursor near the PN second mark, repeatedly press the K key, until the area we want to deal with occupies a large part of the screen. !!. Click once on the media item to select it. !1. Click and drag =ust below the timeline to select the region that we wish to work with ?see belowB. !2. &ight click over the media item and choose the command 3p+i i e's a i'e se+ec ion. This creates a new item, and this new item is still selected. Press Esc to clear the time selection. !P. )f the item7s mute button is visible, click it. $therwise, right click on this new item and choose - e' se ings then 0u e. !N. Press the < key again to return the whole of your song to the display. (d=ust track heights as you wish. !#. Play the song. <otice that the Vo1 track is now muted during the passage that we have been working on.

!3.

Press 5 r+ 3 to save. :eFll be returning to this e+ample shortly.

B."A

Edi ing 0u+ ip+e 0edia - e's

Iou can use &'(P'&7s various item editing and manipulation techniEues ?including smart editingB on selections of multiple items. Sust make your item selection and then carry out the reEuired action ?delete or move, etcB. %. Iou can do this with more than one ad=acent track at a time by using the marEuee method ?right>click and dragB when making a selection. !. Iou can also do this for media items in non>ad=acent tracks. ake the time selection, then select the first item, then hold 5 r+ while you click on each of the other items. )n the first picture ?rightB, tracks % and 2 have had an

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Up and Running: A REAPER User Guide v 4.30

area selected in this way. )n the second screen shot ?belowB, the same selected area has been cut from both media items. This is an e+ample of where you may wish to customi9e &'(P'&7s mouse settings to change its default behavior. For e+ample, you might wish to ensure that even when multiple items are selected, only the one item is edited. This can be done on the 0ouse 0odifiers page of your Preferences window, a topic covered in Chapter %1.

B.!0

3+ip Edi ing

Iou can slip>edit unwanted passages from the start or end of a media item by following this seEuence Kover your mouse over the lower part of an itemFs left or right edge so that the mouse appears as a double headed hori9ontal arrow with a sEuare bracket ?as shown rightB. The direction faced by the bracket will depend on whether you are at the start of the item or the end. Click and drag to the right or left ?as appropriateB, then release the mouse. 3+ip Edi ing 0u+ ip+e - e's To slip edit several items in different tracks, simply select all the media items reEuired ?for e+ample, hold the 5 r+ key while clicking in turn on each item, or use the marEuee methodB, then slip edit any item in the selection. The change will be applied to all items in the selection ?see leftB. This is another e+ample of where you may wish to customi9e &'(P'&7s mouse settings to change its default behavior. For e+ample, you might wish to ensure that even when multiple items are selected, only the one item is slip edited. This can be done on the 0ouse 0odifiers page of your Preferences window. This topic is covered in Chapter %1. Take care when slip>editing ad=acent items, especially when they are touching each other. )f you click and drag on one of the items so as to create a space between the two, then slip editing will take place in the usual way. Kowever, if you slip edit in such a way as to overlap the items, you will create a crossfade. ;oth items will be heard when the overlapping portion is played. This is illustrated here, where the end of the first ?further leftB of the two ad=acent items has been slip>edited to the right, overlapping the other item. This behavior can be modified in two ways. Disabling auto>crosssfade ?on the toolbarB will stop the crossfade, but both items will still be heard. 'nabling *ri' con en be#ind 'edia i e's %#en edi ing ?Op ions menuB will ensure that only the slip>edited item ?the item on topB will be heard during the overlap. (nother techniEue is to use slip>editing to move the boundary between two ad=acent items ?perhaps when an original item has been splitB. Aelect both items and hover your mouse over the boundary between the items to see the symbol shown here. Iou can then click and drag left or right to move the boundary.

B.!"

Ad6us ing Fades

)f you select any item in a track and 9oom in close enough, you will see that there is a fadeout curve at the end of that item. Iou can change both the shape and duration of this curve, either using the mouse, or thru the - e' Proper ies dialog bo+. %. Aelect the rightmost item on one or more tracks. )n the e+ample shown ?rightB two tracks have been selected. )n this e+ample the items selected are vertically alignedthis does not need to be the case. !. Kover your mouse over the vertical white line that marks the start of the fade. The mouse changes to display a curved shape. ,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. %!N

B E Edi ing *rac&s and - e's

1. Click and hold down the mouse button. Drag left to increase the length of the fadeout ?see below leftB then release the mouse. <otice that the fadeout curve is now more gradual. )f you were to slip edit any or all of these items, the fadeout would keep its shape and duration D it would =ust begin sooner. 2. ake sure that your media items are still selected. P. &ight>click over the vertical line that marks the start of the fadeout. ( menu of different fade curves will be displayed ?see rightB. Iou can select any of these. )f you prefer, instead of using your mouse, you can press F! ?with the items selectedB to display the )tems Properties dialog bo+. Iou can make your changes there. <otice that your &'(P'& Op ions; Preferences dialog bo+ includes an area on the Pro6ec Defau+ s screen where you can specify default fade and crossfade length, overlap, and shape characteristics. Aee Chapter %Q for further information.

)n addition, the Preferences 0ouse 0odifiers page gives you additional functionality by using modifier keys with your mouse when working with fades and crossfades. For e+ample, holding 3#if while dragging the mouse left or right will move a crossfade left or right. $ther default settings are shown here, but you can change them. For information about customi9ing your mouse modifiers, see Chapter %1.

B.!!

5rossfades and #e 5rossfade Edi or

Typically a crossfade might be used to transition gradually from one media item on a track to another. )n the e+ample shown ?rightB, two media items overlap each other with a crossfade. A+ 4 toggles on and off auto crossfade mode. :hen enabled, this ensures that dragging the start of one media item over the end of another will automatically create a crossfade. Default crossfade parameters ?including fade and crossfade s#apesB are set in the 0edia - e' Defau+ s page of &'(P'&7s preferences. Oarious crossfade elements ?such as shape, start and finishB can be edited with your mouse in much the same way as you might edit a simple fade. )n many cases this might be all you need to do. Kowever, if you need it the Crossfade 'ditor gives you more precise control over the shape and sound of the crossfade. The Crossfade 'ditor is opened using the Vie%; 5rossfade Edi or command, or by double> clicking on a crossfade. ;elow you can see the same crossfade as before, with the crossfade editor open. The crossfade area has been selected ?by click anywhere on the crossfade curveB. The crossfade editor displays the fade parameter information for the selected media items. )t might help to use a copy of your pro=ect at first, until you become familiar with how the controls work. The following should help you to understand the controls and options and how they can be usedFor a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' %!#

Up and Running: A REAPER User Guide v 4.30

The fader uni s ?top rightB can be set to your preference, either time ?secondsB or beats. (ny of the seven s#apes shown can be selected for fade out, fade in, or both. (fter choosing a shape, you can use the mouse directly on the crossfaded media items. Drag left.right on either curve to ad=ust the fade itself, or at the intersection to move =ust the point where the fades cross. The dialog bo+ controls can also be used to edit the fades and crossfade ?see points belowB. ouse modifiers can be used to customi9e mouse behavior ?see ne+t pageB. $ptionally, you can select EJua+ gain or EJua+ po%er. EJua+ gain settings include linear fades ?the top shapeB. EJua+ po%er includes logarithmic fades ?second from topB. 'Eual gain might be preferred when both items contain similar material. 'Eual power might be chosen when the crossfade is between two different types of sound or different instruments. (d=ustable parameters are curve, cen er of crossfade, s ar and end locations of fade>out and fade>in, +eng #, position of con en s ?the crossfade media itemsB, and vo+u'e of fades. ost of these are self> e+planatory. The curve setting will ad=ust the shape of the left, right or ?if linkedB both curves. Depending on other settings, this may cause the fades7 intercept point to move left or right. <ote also that when ad=usting the +eng # you can specify which position should be preserved D center, start, or end. The con en s rotary can be used to move either of the media items left or right. The vo+u'e con ro+ can be used to ad=ust the volume of the crossfaded items. Parameter values can also be typed directly into the edit bo+es. Meft.right values of the different parameters can be +in&ed or 'irrored. '+cept for s ar and end, link and mirror are mutually e+clusive options. For e+ample, if s#ape is linked then changing the shape of either fade will cause both to be changed in the same way. )f mirrored, selecting a shape for one fade will cause an opposite shape ?if one is availableB to be applied to the other fade. )f s ar and end are linked and mirrored, then ad=usting either of these controls will change the crossfade start and end length eEually, keeping the center point constant. )f +eng # is linked, ad=usting the length of either fade will change the length of both fades eEually. )f mirrored, lengthening one fade will cause the other to be shortened by an eEual amount. )f con en s are linked, that control will move both media items left or right together. )f mirrored, it will move them in opposite directions. )f vo+u'e is linked, then ad=usting either control will raise or lower the volume
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B E Edi ing *rac&s and - e's

of both items together. )f mirrored, then raising the volume on one side will lower it on the other. Iou can choose whether your edits should apply to all grouped i e's. Iou can se the position of audi ion points before and after the crossfade. 'nabling audition will cause the crossfaded area ?together with the pre>roll and post>rollB to be looped when play on the mini toolbar is engaged. (ny other e+isting loop settings in the pro=ect will be retained. There are also options to so+o the track and 'u e either left or right side of the crossfade. &ight>click over the Crossfade 'ditor for a conte+t menu. The mini toolbar at the foot of the window can be used to p+ay, pause and s op playback, and enable.disable +oop audi ion. Previous and 9e1 select the previous or ne+t crossfade. The K button ?topB can be used to save the current crossfade editor settings as a Prese . $ptionally, you can include crossfade length within the preset. Aaved presets can be recalled from the drop down list to the left of this button. )f several crossfades are selected, the crossfade editor will by default apply its settings to the entire selection. For mouse edits, this can be changed in your mouse modifiers. Fade$5rossfade 0ouse 0odifiers and Ac ions ;oth media item fade intersection and fade.autocrossfade mouse modifiers ?rightB can be defined separately for left click, left drag and double click actions. )n many cases the left drag modifiers are likely to be of most interest. These modifiers can be used when working with fades or crossfades, e.g., to enable or disable various options, ?such as whether to ignore snap and.or selection.grouping, and whether to stretch itemsB or to assign actions ?such as ad=usting the fade curveB. There are also options which enable you to ad=ust the fade curve with the mouse. Meft click and double click modifiers can be used to apply any of a number of additional fade intersection or auto crossfade actions from &'(P'&7s (ctions list. These include actions to change fade.crossfade shapes, to ad=ust curves hori9ontally only or both hori9ontally and vertically, and to ad=ust fade curves in various ways. Aearch the actions editor to see the full list. For more general information about using both mouse modifiers and the actions list see Chapter %1. <ote also that the Appearance; Fades$5rossfades page of your Preferences includes various options which determine how and when fade.crossfade edit handles are displayed ?see Chapter %QB.

B.!3

5rop Pro6ec

o 3e+ec ion

:hen recording, itFs not unusual to end up with a period of silence at the beginning, before your song actually starts, and varying periods of silence at the end of your various tracks, where you have perhaps allowed the recording to continue longer than necessary. $f course, you can fi+ this by slip>editing your tracks individually, then dragging and dropping them to the start of your timeline. ( Euicker way would be to 5rop pro6ec o se+ec ion. To crop a pro=ect to selection, do this%. Click and drag along the background area to mark the area that you want to keep D see picture below. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' %!Q

Up and Running: A REAPER User Guide v 4.30

!. &ight click over the Timeline and choose 5rop pro6ec Esc when this is done to remove the time selection. o se+ec ion from the menu. )f you wish, press

*ip: )f immediately after cropping to selection ?and before pressing EscB you again right click over the Timeline and choose Poo' se+ec ion from the conte+t menu ?or use the shortcut keys 5 r+ 9u'pad P+us your pro=ect will e+pand hori9ontally to fit the width of your Track Oiew window.

B.!4

Grouping - e's

Provided that Hrouping is enabled D Op ions; - e' Grouping Enab+ed command, or A+ 3#if G D items can be grouped together to facilitate working with them. For e+ample, you can move them together, set them all to a common color, mute and unmute them, and so onB. Aelect the items and use G to add them to a group. )f you prefer, you can use the - e' grouping button on the &'(P'& toolbar to toggle grouping on and off. )n the e+ample shown below, three of the si+ items have been grouped. <otice that for grouped items a Grouped icon will be displayed if this has been enabled in Preferences; Appearance; 0edia. 'ven when this preference is disabled, you will see a thin colored bar above and below all items that have been grouped ?see rightB. Further items can be added to a group. Aelect any item in the group, then press 5 r+ G to select the entire group. Kold the 5 r+ key while you click on those items that you wish to add to the group, then release Ctrl and press G. <ote that U removes a selected item from a group. Iou can also use the Group commands from the right click item menu to manage groups.

E1a'p+e
Kere is a simple e+ample, using the file A++ *#roug# *#e 9ig# ED-*3.RPP and save it as A++ *#roug# *#e 9ig# GROUP -*E03.RPP %. Aelect the Vo1 track, and use the editing techniEues that you have already learnt to cut this track into several media items, so that it resembles that shown above. There are a number of ways you can do this D one is to position the cursor at the point that you want to split, then select the item, then press 3. &epeat this as often as necessary. To remove unwanted items, select them and press De+e e. !. Check your Op ions menu to ensure that - e' Grouping is enabled. )f it isnFt, turn it on. <otice that by default, the keyboard shortcut A+ 3#if G can be used to toggle )tem Hrouping on and off. ,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. %1"

B E Edi ing *rac&s and - e's

1. Aelect the second of the items in the Oo+ track. Kold down the 5 r+ key while you select in turn the fourth and last items for this track. 2. Press G to bind them into a group. Aelect any item in the group and press 5 r+ G to select them all. P. )f item icons are visible, click on the 0u e button for any item in the group. $therwise, right>click and choose - e' 3e ings; 0u e from the menu. &epeat this to unmute them. N. :ith all items in the group still selected, right>click on any of them and choose - e' and a&e co+ors then 3e i e's o cus o' co+or. Aelect a color and press En er. #. <ow select the first of the items drag and drop to the right a little. (ll items in the group will move together. Press 5 r+ P to undo this. 3. <ow click on any other media item not in the group. This deselects the group. Aave the file. Q. Click again on any item in the group and press 5 r+ G. (gain, all group items are selected. %". Press U. These items are now ungrouped. Aave the file.

B.!?

3 oring and Reca++ing - e' Groups

Different groups of items can be saved and recalled using the - e' Groups tab of &'(P'&7s Pro=ect ;ay. The Pro=ect ;ay will be e+plored in more detail in chapter %%. For now, notice that you can open it using the Vie%; Pro6ec 0edia$F4 2ay command, and then select the - e' Groups tab. To create and save multiple groups, simply use this method $pen the Pro=ect ;ay and select the - e' Groups tab. Aelect the items for your first group then right click over one of them and choose Group then Group i e's from the menu. ( group will automatically be created in the Pro=ect ;ay. Iou can right click over the group name and choose Rena'e group to give it your own name. &epeat this step to create subseEuent groups. The e+ample here shows a pro=ect with two item groups.

To select all items in a group, you can now right click over its group name in the pro=ect bay and choose 3e+ec group from the menu. To remove a group, use the De+e e group; &eep i e's command on the same menu. *ip: To ad=ust the volume of all items in a selected group, hold 5 r+ and A+ while ad=usting the item volume button or item volume handle of any one of the items in that group.

B.!B

G+ue 3e+ec ed - e's

:hen you have a number of items in a track that you wish to permanently treat as one, you should consider using the G+ue i e's command. :hen you glue items, they become one and a new media item is created. For e+ample, two )D) items glued together will automatically and always open together in the same )D) 'ditor For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' %1%

Up and Running: A REAPER User Guide v 4.30

window. Two audio items glued together will now share one common set of )tem properties. )tems that have been glued together can be later split up any way you wish. This can be useful if you later realise that you need to ad=ust one or more properties of a portion of a glued item. To glue together a number of ad=acent items in a track, follow this procedure%. Aelect all of the items that you wish to glue. The easiest way to do this is probably to right click and drag the mouse across the items. !. &ight click over any item in the selection and choose G+ue i e's from the conte+t menu.

E1a'p+e
)n the e+ample shown below, a track is made up of si+ separate media items ?as in the e+ercise aboveB. ;y positioning the mouse initially over the first item, then right clicking and dragging to the last item before releasing the mouse, we ensure that all items are selected.

:e then right click over any of these items ?where the mouse is shown aboveB and choose G+ue se+ec ed i e's from the menu. (s a result, the five items are =oined into one, as shown below.

$ne application for gluing items is to =oin several items together into a new loop source. Iou7ll learn more about working with loops in Chapter 3. (nother use for glue is to render an item, for e+ample, incorporating item gain and item F8 into the new media item and setting the F8 to bypass. :hen a selection of two or more items are glued in this way, the F8 and so on will be applied to the appropriate sections of the new item.

B.!>

5rea ing and 5opying - e's in Penci+ 0ode

&'(P'& includes an optional pencil mode that can be used to create new media items or make copies of e+isting ones. Kow the feature works is determined by your *rac& +ef drag settings on the 0ouse 0odifiers page of your Preferences window. )n Chapter %1 you will be shown how you can change these settings to suit your own custom reEuirements if you need to. For e+ample, you could assign the 3#if modifier to be used to draw a new item. For now, we will be looking at the default settings. These default settings are shown here. ;y default, the following modifiers can be used with the mouse when clicking and dragging5 r+ D draws a copy of currently selected media item. Anapping will be applied if enabled. 5 r+ 3#if > draws a copy of currently selected media item, will not snap.

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B E Edi ing *rac&s and - e's

5 r+ A+ > draws a copy of currently selected media item pooling enabled. )D) source data. Anapping will be applied if )D) source data, will not snap.

3#if 5 r+ A+ > draws a copy of currently selected media item pooling

The illustration above is an e+ample of this. The first of two e+isting media items on a track has been selected. ;y holding 5 r+ while clicking and dragging further along that track, a copy of that media item is made.

B.!@

Ripp+e Edi ing

The simplest way to describe ripple editing is this- usually, when you delete part of a media item, a gap is left on the track where the deleted item used to be. :ith ripple editing, the material on the track is moved over to fill that gap. This is illustrated in the three screen shots below. This first picture ?leftB shows a media item selected with a time selection highlighted. :ith ripple editing off, deleting the selected area of the selected media item has the effect shown here. :ith per track ripple editing enabled, however, deleting the selected area of the selected media item has the effect shown here. To access &ipple 'diting, choose the Op ions; Ripp+e edi ing command, or use the keyboard shortcut A+ P, or use the 5yc+e Ripp+e Edi ing 0ode button on the main toolbar. The same action ?choosing the command or using the shortcutB toggles the &ipple 'diting status between three statesOff: This is the default mode. )tems will not shift when you edit a track. Per *rac&: )f you select the ripple editing option once, it will change to per track ripple editing. &ipple editing will then be applied when you are editing the currently selected track?sB but not to any other tracks. A++ *rac&s: )f you select the ripple editing option once more, it will enable the all tracks ripple editing. This means anything you do to (<I of the items on (<I track will affect the '<T)&' pro=ect. This can be used, for e+ample, for deleting entire sections of songs. )n this mode, markers and automation are locked to the items that they relate to, so as you move items the associated markers and automation move too. ,sing this mode on multiple tracks is very useful for editing multitrack recordings of live material > everything that belongs together stays together in sync as you edit. Conversely, using this mode with an item on a single track makes &'(P'& behave rather like a stereo editor. For instance, if you split the item at a couple of places ?so you now have three itemsB then delete the middle piece, the remaining pieces =oin up, but unlike with a normal stereo editor, you can ad=ust the =oin by dragging the ends of the items appropriately. )f you want to move material from one place to another, you can split at the insertion point, drag the material to the right of the insertion out of the way, then make the insertion and drag the displaced material to =oin it. (ll items to the right of the dragged item will stay together and markers and automation will move correctly too.

For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' %11

Up and Running: A REAPER User Guide v 4.30

Kere is shown one e+ample which uses ripple editing on all tracks. &ipple 'diting, all tracks is enabled. )n the first illustration, the period of silence before the recorded program starts is selected. The command 5u se+ec ed area of i e's is then applied. The selected area is cut from all tracks, and the remaining material is moved to the pro=ect start. *ip: Ahortly in this chapter you will be shown how to use 'ouse 'odifiers to determine how &'(P'& behaves when an item or selection of items is dragged. This includes options to select and apply any of the three ripple editing states when the item?sB is.are being dragged,

B.!A

*ri' o 3e+ec ed Area

)f you want to trim a media item or track from both the start and the finish at the same time you can do so. Sust follow this seEuence%. !. 1. Aelect the media item ?or itemsB. Click and drag in the track background area to select the area that you want to keep. &ight click over a selected media item and choose *ri' i e's o se+ec ed area.

)f Ripp+e Edi ing is turned on, the area that is trimmed will also be removed from the timeline, otherwise some empty space will be left. )f your 3nap$Grid 3e ings are set to include 0edia - e's, then provided that snapping is enabled, snapping will be applied when you select the area to be trimmed.

B.30

Free - e' Posi ioning

Choosing the option for free i e' posi ioning enables you to move your media items around freely within a track or tracks. This can be helpful, for e+ample if you want two or more media items to play simultaneously or to overlap on the same track. To turn this feature on%. !. Aelect the track ?or tracksB for which you wish to allow free item positioning. &ight click over the Track Control Panel and choose Enab+e rac& free i e' posi ioning from the conte+t menu. )n the first screen shot we have a Mead Oocal and a Karmony Oocal on different tracks. :e might find it convenient to place these together on the same track. )n the second screen shot we have enabled Free )tem Positioning for the Oo+ ain track. <otice that there is a small handle ?shown by the mouse cursorB which can be used to ad=ust the height of this media item. )n the third screen shot the media item for the Oo+ Kmy track has been dragged and dropped into the Oo+ ain track. :hen this track is played, both of these media items will play together. )n fact, in this e+ample, Track 1 can now be deleted. ,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. %12

The following series of illustrations demonstrates an e+ample of how this feature might be used.

B E Edi ing *rac&s and - e's

'ach of the ?in this case twoB items is independent of the other. 'ither or both can be muted and unmuted, have F8 added to them, have changes made to pitch and.or playback rate, and so on. Iou can use the 0edia - e' Proper ies dialog bo+ ?F!B and.or the right>click conte+t menu for this purpose.

B.3"

0ouse 0odifiers

Iou have already encountered many e+amples of how &'(P'& uses the mouse with and without modifiers to perform a whole range of tasks. These have so far included making loop and time selections, copying and moving media items, slip editing media items, using item pencil mode, and so on. )n Chapter %1, you7ll learn more about how you can modify any of these if you wish, and even create your own. eanwhile, you can find out more about the various ouse odifier default settings by browsing thru the Edi ing 2e#avior, 0ouse 0odifier section of your &'(P'& Preferences. From the 5on e1 list, select a topic, such as edia item click, edia item edge drag, Track click, &uler, click, (rrange view right>click, etc. ( summary list of all default mouse actions relevant to that conte+t will be shown. Iou can then double>click on any entry in the odifier column to assign an action to that modifier. Ahown here ?belowB is an e+ample of the default actions associated with the various mouse modifiers for when you are dragging media items. For e+ample, by default, clicking and dragging a media item will move it, ignoring any time selection. Kolding 5 r+ as you do so will copy it D and so on. There are many more for you to choose from. For e+ample, you could define 3#if (in as a modifier to restrict item movement to being vertical only, when moved or when copied. Iou could use 5 r+ (in for ad=usting an item7s volume, and so on. To do either of these, you would need to double>click on the modifier in the list, then make your choice from the list of commands and actions offered. The 5on e1 drop down list includes the following entries that can be relevant when you are working with media items. 0edia i e' F+ef c+ic&; +ef drag and doub+eEc+ic&G 0edia i e' bo o' #a+f F+ef c+ic&; +ef drag and doub+eEc+ic&G 0edia i e' edge F+ef drag and doub+eEc+ic&B 0edia i e' fade$crossfade F+ef c+ic&; +ef drag and doub+eEc+ic&G any conte+ts have an option associated with them- where present, this is displayed below the table, =ust above the OI button. )n the e+ample here, you have the option whether or not to treat the label area above the item as empty track space. <otice too the -'por $e1por button. This can be used for saving and recalling your mouse modifier actions, either for the currently selected conte+t or for all conte+ts. There7s a lot to e+plore here, and how you use these options will very much depend on your own personal needs. The e+amples that follow should help to get you started.

For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' %1P

Up and Running: A REAPER User Guide v 4.30

0edia - e' Cef 5+ic& 0odifiers Ahown here are the default assignments for mouse behavior when you click on any media item. <otice that the default behavior for a simple click is 3e+ec i e' and 'ove edi cursor. $n the other hand, A+ 5+ic& will select the item without moving the edit cursor. )f you wish, you can swap these assignments over, so that a simple click will select the media item without moving the edit cursor. To do this, =ust double>click in the list on the item that you wish to change, then select your preference from the list ?see rightB. Iou will find more information about customi9ing mouse modifiers in Chapter %1.

0edia - e' Edge Cef Drag Ahown here ?rightB are the default mouse modifier settings that are used when clicking and dragging on the edge of any media item?sB. Chapter %1 includes a step by step e+ample showing how you can change these.

O #er Op ions <otice that you can assign different modifiers to be used when clicking on the bottom part of media items from those used when clicking on the top part. )n the e+ample shown here, the default action for a simple click on the bottom half of a media item is being changed to Add i e' o se+ec ion. 9o e: :hen the conte+t 0edia i e' bo o' #a+f is selected, an option is displayed to Disab+e arge ing of bo o' par of 'edia %#en a&e +ane #eig# is +ess #an 11 pi1e+s. ;y default this is set to 22. Iou will need to change this if you want to be able to use these conte+t actions with media items less than 22 pi+els high. These are =ust some of the many possible e+amples which illustrate how you can use mouse modifiers in various different conte+ts when editing media items. )t7s up to you now to e+plore the many other options for yourself, depending on which aspects and options are most important to you*

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B E Edi ing *rac&s and - e's

B.3! Dyna'ic 3p+i ing E Re'ove 3i+en Passages

&'(P'&7s Dynamic Aplitting is a powerful feature which can be used for all sorts of purposes. any of these are designed to help you with tempo based composition, but it has other more widespread applications. $ne such use is to clean up a track and remove those passages that should be silent. This can be handy, for e+ample, with a vocal track, to automatically clean up the passages between verses which might contain unwanted background noises such as breathing or shuffling sounds. Auppose that you have recorded such a vocal track. :ith dynamic splitting you can effectively tell &'(P'& to go thru the track and take out all of the passages where the vocalist isn7t singing. These are the passages where you want the track to be silent and which otherwise might contain various breathing or other unwanted sounds. To do this, you first select the media item then right click over it and choose the - e' processing, Dyna'ic sp+i i e's: command. Iou then need to select the reEuired parameters before splitting. Iou are given immediate visual feedback before e+ecuting the command. 'ach split point is indicated by a colored vertical line and those areas marked for removal are shown as darker. Dynamic splitting will be e+amined in more detail in Chapter 3, in the conte+t of tempo based music production, but when applied to this particular task it can be used as e+plained in the table below. Atart with settings similar to those shown here and ad=ust then as necessary.

3u''ary of Dyna'ic 3p+i ing Para'e ers :hen used in this way, dynamic splitting basically employs a noise gate to tell &'(P'& how often and where to split your media items and which areas are to be removed.
Dyna'ic 3p+i ing Para'e er A ransien s (#en ga e opens (#en ga e c+oses Reduce sp+i 0in s+ice +eng # 3e ing o Re'ove 3i+en Passages Deselect this option when using dynamic splitting for this purpose. Iou would be unlikely to select one of these options without the other. ;oth of these options need to be turned on, so that &'(P'& can work out the beginning and end of each passage that is to be removed. )n most cases, when using dynamic splitting for this purpose this item should be deselected. This sets the shortest length for any slice. Iou will probably need to e+periment to get it right. ,sually, this should be set to a low value. Kappily, &'(P'&7s dynamic splitting interface gives you immediate visual feedback. Iou can see by looking at the screen when your settings are right. The illustration below shows the effect of setting this value too high. <otice that it can result in some recorded passages also being removed

For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' %1#

Up and Running: A REAPER User Guide v 4.30

Dyna'ic 3p+i ing Para'e er 5ons rain s+ice +eng # Ga e #res#o+d 3e ing o Re'ove 3i+en Passages )n most cases for this particular application this setting should not matter. )f in doubt, try both and be guided by the visual feedback. This setting is important, but usually has a reasonable range of acceptable values. )f you make this too low you might allow unwanted sounds thru the noise gate. )f you set it too high you risk deleting Euieter passages of the recorded material. Atart around >P"d; and make any necessary ad=ustments from there.

0in si+ence +eng # )ys eresis

This is another parameter that will reEuire fine tuning. Aet too high it will fail to catch all the periods of silence, This setting can be used to ad=ust the level at which the gate closes relative to that at which it opens. )n the e+ample shown above, the gate will close at >N!.P d; and reopen at >P" d;. &aising the hysteresis figure closer to or even above "d; will have the effect of creating more splits. This option should be enabled. 'nabling fade pad can help ensure a smoother transition. Meave them as shown here.

Re'ove si+ence Fade Pad O #er se ings

B.33

3(3 E1 ensions

(s you get to know &'(P'& better you will find that there are a number of editing and related actions that you will want to use freEuently. This might include, for e+ample, actions as diverse as lining up a number of media items with the edit cursor, or setting the volume of an entire selection of media items in one action. Iou will find that many of these actions D and more > are available as a plug>in to &'(P'& by downloading and installing the 3(3 E1 ensions Pack. To do this, you simply follow this seEuence%. !. 1. Ho to # p:$$%%%.s anding%a ers udios.co' Follow the instructions to download the correct version for your operating system. (fter downloading, run the install program, then start &'(P'& in the usual way.

The contents of this e+tension pack are by no means lightweight. They include not only hundreds of useful actions for editing and more but also whole modules which bring e+tra functionality to &'(P'&, including mi+ing snapshots and marker management. Ao comprehensive are they that they come with their own PDF manual.

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> E Arranging; 5o'ping and Edi ing *a&es > Arranging; 5o'ping and Edi ing *a&es

'arlier, in Aection 1, we looked at how you can create multiple takes when you are recording. )n particular, make sure you are familiar with the sections that cover 3#o%ing *a&es in Canes, Using 5o+or 5oded *a&es and (or&ing (i # 0u+ ip+e *a&es. The editing and arrangement techniEues covered in Chapter N can also be applied to editing a pro=ect with multiple takes. This e+ample is intended really to get you thinking about how you might approach the task. Iou have two main methods at your disposal. Iou can either '+plode the takes to new tracks. Iou can then work on and edit each track separately and ?if you wishB =oin them all back to a single track when you have finished, or :ork on and edit the various takes all within the single track on which they were recorded. :e7ll get to this method later in this section. <ote that unless specifically stated otherwise, the instructions in this section assume that you have the free item positioning option disabled for the tracks that you are working on. This is the default setting. ?For more information about free item positioning, see chapter NB.

>."

E1p+oding *a&es o 0u+ ip+e *rac&s

:e7ll start by looking at the first of these two methods. MetFs suppose that we have recorded three takes of a vocal track. :e can right click over the item and use the *a&e; E1p+ode a++ a&es o ne% rac&s command.

This command creates ?in this caseB three e+tra as yet unnamed tracks D the original track with its three takes is still intact. <ow suppose that after auditioning we have decided which parts we want to use from each take. )n the ne+t illustration, we have edited the various takes to leave only the portion of each take that we wish to keep. This has been done using various editing techniEues that have been covered in Chapter N.

Finally, we select the various items from tracks 1 and 2 and use the 9u' Coc& @ key to move them up to track !. Track % is now muted and could of course be hidden. Tracks 1 and 2 could be deleted.

Iou could now select all of the items in track ! and use the G+ue - e's command to bind them together as one media item. <ote that the original muted track with the three takes on it is still available. This makes it easy at some later time for us to change our mind about what to include in the vocal track if we wish.

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Up and Running: A REAPER User Guide v 4.30

>.! 5rossfades %i # *a&es
)f you intend to arrange your media items so that they overlap, then you should first decide whether or not you want &'(P'& to add a crossfade. This feature is turned on and off using the Au o 5rossfade button on the main toolbar ?or the keyboard shortcut, A+ 4B. The curves of crossfades can be edited. Iou can e+tend the crossfade in either direction by dragging the vertical fade bars. )f you hold 3#if while doing this, you can move the crossfade itself left or right to a new position. &ight>clicking over the crossfade reveals a menu of different crossfade shape options ?see leftB. ,sing these techniEues can ensure that an otherwise abrupt edit is smoothly disguised by a gradual transition at the best edit point. Oarious options are available to you for customi9ing mouse behavior when crossfade editing. These can be selected from the Edi ing 2e#avior; 0ouse 0odifiers page of your Preferences D see also Chapter %1. (n e+ample of this shown here. For more powerful and sophisticated crossfade editing, you might wish to use the Crossfade 'ditor ?see Chapter NB

>.3

E1p+oding *a&es in P+ace

(nother option is to use the *a&e; E1p+ode a++ a&es Fin p+aceG command. This has the effect of merging all takes on the track into a single lane. Kere7s an e+ample of when you might wish to do this. The track shown here includes three lead vocal takes. Iou have made your selection of the best parts of each take. These have had their individual item properties ?such as volumeB ad=usted to give you the sound that you want.

;y e+ploding all takes in place, the selected items are placed over the others takes in a single lane, and are played together.

>.4

P+ay A++ *a&es

Kere7s a really interesting trick you can do with takes. Ahown here is a vocal track with an overdubbed vocal harmony for =ust two lines. ;oth takes at that point have had individual pan and volume envelopes added, and perhaps some F8 in their individual take7s F8 chains. (fter selecting both these media items, right>click over either one of them and choose - e' se ings then P+ay a++ a&es. :e now have our complete vocal and harmony mi+ on one single track* This setting is also available from within the )tem Properties window.

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> E Arranging; 5o'ping and Edi ing *a&es

>.? Edi ing and 5o'ping 0u+ ip+e *a&es

Iou don7t need to e+plode takes to multiple tracks in order to manage them. )n this section we7ll see some of the ways in which you can manage your takes all within a single track. )n overview, this essentially consists of selecting the best parts of each take and comping them together into a single take of your preferred selections.

3+ice and Dice

:hen you choose the Op ion to 3#o% a++ a&es in +anes F%#en roo'G there is a neat techniEue known as slice and dice that helps you combine the best of each take together, to play as one track. To do this, you simply 3p+i the track in as many places ?and at the e+act pointsB that you think appropriate, then select from each slice your preferred section. The different methods that you can use for splitting are e+plained in Chapter N. ( clever trick is to make all of the items that together make up a complete set of preferred takes a different color from the others. To do this, first choose your takes and select all of the media items ?use marEuee to do thisB, then choose from the - e' menu - e' and a&e co+ors, then 3e ac ive a&e o cus o' co+or or 3e ac ive a&e o one rando' co+or. These commands are also available from the media item right>click conte+t menu. (n e+ample of how this can be used is shown below. <otice in this e+ample that the second of these takes consists of an overdub of =ust a small portion of the song. The option to Disp+ay e'p y a&e +anes ?Op ions; *a&e +ane be#avior menuB is enabled to ensure that your takes are displayed more clearly. (n empty part of a take ?such as e+ist in Take ! hereB cannot be selected unless you enable A++o% se+ec ing e'p y a&e +anes ?Op ions; *a&e +ane be#avior menuB. )f you prefer not to see the empty take lanes, you can hide them by disabling Disp+ay e'p y a&e +anes ?Op ions;

*a&e +ane be#avior menuB, as shown above.

5o'p 3e s
Iou can save multiple comp sets for individual tracks ?as shown aboveB and even for groups of tracks ?as shown rightB. This is a pro=ect with two vocal tracks, each of which has been sliced and diced and the preferred takes colored rusty red. :ith all media items in this set selected ?use marEuee for thisB, you can right>click over the selection and choose 5o'ps then 3ave as ne% co'p from the conte+t menu. Iou will be prompted for a name- this name will then be added to the Comps menu and can be used to recall this comp from the menu at at any time. $ne advantage of this is that it makes it easier for you to compare different combination of slices from different takes, and hence arrive at the best outcome. There is no limit to the number of comp sets that you can save and use. Kere is a summary of the commands on the 5o'ps sub>menu. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' %2%

Up and Running: A REAPER User Guide v 4.30

5o''and 3ave as ne% co'p Rena'e ac ive co'p Re'ove ac ive co'p 5rop +is o ac ive co'p E1p+ana ion Aaves your current selection of takes on all currently selected tracks as a new comp set. Iou will be prompted for a name. Mets you change the name of current active comp set. Deletes the currently selected comp set and removes it from the Comps menu. This does not remove any takes or media items from the pro=ect itself. &emoves other comp sets from comps menu list. oves all items in take selection to the top lane of its track.

0ove ac ive co'p o op +ane 5o'p na'es

Iour comps will be listed at the end of the Comps menu ?see e+ample rightB. Choosing any of these will cause that set of takes to be selected.

)n this e+ample, we have created a second comp set and colored it green. :e can now switch between comp sets at will.

)n this e+ample, with our preferred comp set selected we have used the command 0ove ac ive co'p o op +ane. Don7t forget also that by pressing 5 r+ C you can toggle lane display on and off, as shown here. *ip: :hen you use lanes and slice and dice in this way, you can use the 9u' Pad keys % and 1 to slide items left or right if their timing is slightly out of sync with other takes. The e+act amount by which these keys will slide your selected media item?sB will depend on how closely you are 9oomed in or out. (s a rule, you are likely to find that in the earlier stages of post production, you are more likely to want to create and save comp sets for individual tracks, rather than for groups of tracks. This will offer you a great deal of fle+ibility in how you 4mi+ and match5 your various tracks together. Kowever, as your mi+ progresses towards its completion, you may find that it can be more advantageous to save comped sets for whole selections of tracks, so that they can be recalled and used together.

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> E Arranging; 5o'ping and Edi ing *a&es

The table below summari9es other *a&e menu management commands that are available to you5o''and F3#or cu G 9e1 a&e F*G Previous a&e F3#if *G De+e e ac ive a&e F4G 5rop o ac ive a&e FA+ 3#if *G Dup+ica e ac ive a&e Coc& o ac ive a&e E1p+ana ion akes ne+t take the active take for all selected media items. akes previous take the active take for all selected media items. Deletes currently selected take on all currently selected media items. &emoves all non>active takes from currently selected media items. (dds a copy of the active take to the item as a new take. This is a toggle command. )t locks the current active take selection. :hen take locking is applied to a media item, its active take cannot be changed unless this toggle is unlocked. $pens the F8 browser to allow you to add F8 to the active take for the selected media item. &emoves F8 previously added to a take7s FC chain. (dds an automation envelope to the selected take. Iou7ll learn more about automation envelopes in Chapter %N. Copies each take to a new track. Places selected takes on the same track on top of each other, so that all will play at once. Places selected takes on the same track in seEuence, one after the other. This command turns this G. into this-

3#o% F4 c#ain for ac ive a&e Re'ove F4 for ac ive a&e *a&e *a&e *a&e *a&e vo+u'e enve+ope pan enve+ope 'u e enve+ope pi c# enve+ope

E1p+ode a++ a&es o ne% rac&s E1p+ode a++ a&es in p+ace E1p+ode a++ a&es Fin orderG

-'p+ode i e's across rac&s in o a&es:

Copies all selected items to a single track as a series of takes. This command turns this ...

G into this-

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Up and Running: A REAPER User Guide v 4.30

5o''and F3#or cu G -'p+ode i e's on sa'e rac& in o a&es: E1p+ana ion oves all selected items to the same start time as a series of takes on the same track. This command turns this G. into this-

Pas e o a&es in i e's

Pastes previously selected and cut or copied takes into selected tracks as a new item.

>.B

0ore *a&e 5o''ands and Ac ions

The third section of the )tems conte+t menu contains a series of commands that involve creating a new take from an e+isting item. These commands open up for you a number of interesting and creative options. The first three of these involve applying track effects to an e+isting media item and are essentially similar D one creates a mono item, one a stereo item and the third of these is used with )D) items. The table below summari9es these commands and how they are used. 5o''and F3#or cu G App+y rac& F4 o i e's as ne% a&e App+y rac& F4 o i e's as ne% a&e F'ono ou pu G App+y rac& F4 o i e's as ne% a&e F0-D- ou pu G E1p+ana ion $ne use for this command is to free up CP, if your system is becoming stressed. Consider an e+ample of a track with some F8 in its F8 chain, say reverb and a compressor-

(fter applying track F8, we have a new take with the F8 applied to it. The original F8 chain can now be set to bypass-

This will not only reduce your CP, overload, it also opens up further creative options for you. Try selecting P+ay a++ a&es then using pan and volume envelopes on both takes to vary their placement and relative volume levels for different parts of the song. Render i e's as ne% a&e This command is another CP, miser. )t will render the e+isting media item as a new take.

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> E Arranging; 5o'ping and Edi ing *a&es

5o''and F3#or cu G Reverse i e's as ne% a&e E1p+ana ion Iou can have some fun with this one. )t does what it says D it adds a new take to the media item with the material reversed. Kere7s an e+ample. Atarting with this G

G we end up with this-

(s well as these commands, &'(P'&7s (ction Mist ?see Chapter %1B includes a number of actions you can use to deal with empty take lanes. These actions ?which can be assigned to shortcut keys or toolbarsB are- e': Re'ove a++ e'p y a&e +anes - e': Re'ove #e e'p y a&e +ane af er #e ac ive a&e , and - e': Re'ove #e e'p y a&e +ane before #e ac ive a&e Don7t forget how many options you now have G slice and dice, play all takes, volume, pan and mute envelopes, pitch and.or playback rate shifting, take F8 G and so on* Foo no e: 5onfused abou co+orsU &'(P'&7s Preferences; Appearance, 0edia settings includes so many color options that you could be forgiven for being confused as to how they work. )n the e+ample shown here, we have asked for media item peaks and backgrounds to show both track colors and take colors. Clearly to show both of these will not be possible. )n cases like this, the option furthest to the right will take precedence. )n other words, for a particular media item, if takes have not been colored then the track colors will be used. )f, however, take colors have been specified, then these will take precedence over track colors.

>.>

0anaging 5o'ps %i # #e Pro6ec 2ay

Takes and comps can also be managed from within &'(P'&7s Pro=ect ;ay. The Pro=ect ;ay is a one>stop center which allows for the convenient management of a pro=ect7s media items, F8, item groups, takes and comps. )t is e+plored and e+plained in detail in Chapter %% of this ,ser Huide. To open and display the Pro=ect ;ay, use the Vie%; Pro6ec F4$0edia 2ay command. Click on the tab labeled *a&e 5o'ps to display the takes and comps management section. Clicking on the Op ions button ?bottom rightB displays a menu. This menu is e+plained in detail in Chapter %%. For now, notice the option to 0irror se+ec ion in bay and pro6ec . :hen enabled, this allows you to select any media item or segment by clicking on it either in the pro=ect itself or in the list shown in the pro=ect bay.

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Up and Running: A REAPER User Guide v 4.30

:ithin the pro=ect bay window ?see belowB you can right click over any listed comp to display its conte+t menu. Choices include commands to Ac iva e co'p, Rena'e co'p and De+e e co'p F&eep a&esG. Iou can also create a new comp from your current take selection by clicking on the Ac ions button ?bottom rightB and choosing 5rea e ne% co'p from the (ctions menu. (n e+ample of a pro=ect with the Pro=ect ;ay open and the Take Comps window selected is shown below-

The illustration on the right shows how within comp sets you can also select and manage individual takes and items. For e+ample, you can activate or deactivate individual takes, or remove them from the comp altogether.

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@ E Coops; 0ar&ers and Regions @

@."

Coops; 0ar&ers and Regions

5rea ing Coops

(ny audio, )D) or click source )tem can be looped. )ndeed, by default &'(P'& media items are loop enabled. Iou can disable this for individual items in the edia )tem Properties dialog bo+, or globally ?for )D) and imported itemsB on the Pro6ec ; 0edia - e' Defau+ s page of your Preferences. The loop point is defined by the duration of the source media. )f you insert an item that is four bars long, it will loop every 2 bars, if it is 3 bars, it will loop every 3 bars, etc. <ote that in the following e+amples, if you are using beats for your timebase, the item must be an e+act number of beats in length, or it will not loop in sync. )f necessary, ad=ust the playback rate ? edia PropertiesB while preserving pitch, then glue the item to do this.

*o Coop an en ire - e'%. Kover the mouse over the the edge of an )tem until the Cursor changes to a double>headed arrow ?see rightB. !. Drag the Cursor to e+tend the )tem. 'ach loop point will be indicated by a notch in the item edges. 1. The length, start time and end time of the looped item will be displayed as you drag the edge of the loop.

5ropping and Cooping:

)f you wish to loop only part of an item, then one method is to first crop and glue the item. %. ake sure snapping is enabled. Kover the mouse over the edge of the )tem until the Cursor changes to a double> headed arrow. Click and drag the mouse in on the item to make it shorter, so that you are left with only that part of the item that you want to use as the basis of the loop. &elease the mouse button.

!. &ight click over the item and choose G+ue i e's. 1. <ow drag the Cursor to e+tend the )tem. 'ach loop point will again be indicated by a notch in the edges of the item. '+tend the loop as reEuired.

5#anging P+aybac& Ra e:
There may be times when you will wish to change an item7s playback rate, for e+ample to keep it in sync. Taking the same e+ample as above, you would first display the - e' Proper ies bo+, and most probably make sure that Preserve pi c# %#en c#anging ra e was selected. Iou could then change the P+aybac& ra e ?for e+ample, to !."B. This would have the effect shown here. The original item ?loopedB as shown above has had its playback rate modified ?rightB.

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Up and Running: A REAPER User Guide v 4.30

5rea ing a Coop fro' a *i'e 3e+ec ion
(nother way of creating a loop from only part of an item is to select the reEuired item, highlight the reEuired part of it as a time selection, right click, choose 5opy +oop of se+ec ed area of i e's, remove the original, then paste in the loop in its place. This is shown here%. Aelect first the source item, then select the area to be looped ?see aboveB. 'ither press 5 r+ A+ C or right click and choose 5opy +oop of se+ec ed area of i e'. Aelect the track and position to which you want the item copied. Press 5 r+ V to paste in the area to be looped. Drag the cursor from the edge of the item as before to create the loop.

!. 1. 2.

@.!

5rea ing and 9aviga ing %i # 0ar&ers

arkers are like bookmarks. They can help you when you are navigating, arranging and editing your pro=ects. arkers can be inserted at the current 'dit Cursor position, whether or not the pro=ect is being played. Ac ion -nser ; 0ar&er command -nser ; 0ar&er F pro'p for na'eG command Rig# c+ic& 'ouse over 'ar&er 3#or cu 0 3#if 0 Effec )nserts numbered arker at present position.

)nserts numbered arker at present position and prompts for a marker name. Displays menu to &emove arker or 'dit arker.

Ieyboard and 0ouse 3#or cu s

Default @eyboard and *o do #is ... Ho to marker % thru %". ove marker % thru %" to cursor position, or create new marker if no marker of that number e+ists. Ho to ne+t marker. pro=ect end or previous marker. pro=ect start. To =ump to any marker. Sump to marker using the Transport ;ar. $pen 'dit marker dialog ?e.g. to add or change marker name or change marker colorB. ake loop selection in &'(P'&7s main arrange view or in the )D) 'ditor piano roll view. Aelect area between the two markers. ove a marker. &emove a marker. ouse Ahortcuts for creating and navigating with markers are0ouse$Ieys ro&e " thru 0 on main keyboard, not <um Pad. 5 r+ " thru 5 r+ A and 5 r+ 0 V or W 5 r+ / opens Sump To dialog. Type m and marker number D e.g. m! to =ump to marker !. Rig# c+ic& on *ranspor 2ar then /u'p o 'ar&er 3#if doub+eEc+ic& on 'ar&er nu'ber. Type a new name, or click on 3e co+or. Doub+eEc+ic& on ru+er be %een %o 'ar&ers Doub+e c+ic& on i'e+ine be %een 'ar&ers 5+ic& and drag 'ar&er a+ong i'e+ine A+ 5+ic& on 'ar&er

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@ E Coops; 0ar&ers and Regions

E1a'p+e
This e+ample illustrates the use of markers. ;efore you begin, on the Op ions menu, enable the option Coop poin s +in&ed o i'e se+ec ion. %. $pen the sample file A++ *#roug# *#e 9ig# .RPP and immediately save it as A++ *#roug# *#e 9ig# 0ARIER3.RPP !. Play the song. Sust before the place where the vocal starts. Press 3#if 0. :hen prompted, type as the name Verse " 3 ar and press En er 1. (t the end of the first verse, press 3#if 0 again, name this marker Verse " End and press En er. 2. Create similar markers for the start and finish of Oerse ! and Oerse 1. These will be at or around %-"", %-13, %-2N and !-1P. Aave the file. P. Press " on your keyboard ?not the numeric keypadB. <otice the edit cursor =umps to the start of Oerse %. N. Press !. <otice it =umps to the end of Oerse !. #. Double click on the timeline ruler ?not the markers rowB between markers ! and 1. <otice that this area is now looped and will play repeatedly. 3. &ight click over the timeline and choose Poo' se+ec ion. Iou could now do any close editing work reEuired for this selection. Q. Press Esc to clear the selection, then 5 r+ PgDn to restore the whole pro=ect to view. Aave the file.

@.3

*i'e 3e+ec ion 3 ar $End 0ar&ers

&'(P'& treats the start and end of any current time selection as floating markers. The shortcut keys for Go o ne1 'ar&er and Go o previous 'ar&er are V and W. These will also find the start or end of the current time selection and move the play cursor there. Iou can also right>click over the Go o s ar button and enable the option Use ranspor #o'e$end for 'ar&ers. The Ho to start and Ho to end buttons will now find the start.end of a time selection when one is current.

@.4

3napping o 0ar&ers

$ptionally, you may wish to ensure that when you are making a time selection, the boundaries of the selection will automatically snap to nearby markers at the start and.or end of the time selection ?if any such markers are presentB. Consider the portion of the 3nap$Grid 3e ings shown on the right. <otice that snapping has been enabled, with a snap distance of %" pi+els defined. :ith snapping disabled, it can be Euite difficult to make a selection which starts or ends e+actly at a marker. :hen you attempt to make such a selection, you might end up with the selection shown in the first of the screen shots below. <otice that the end of the selection doesn7t Euite match the marker. Kowever, in the second e+ample shown, with snapping enabled and the settings shown above, if you drag the selection to within %" pi+els of the marker position, the selection will automatically snap to the marker when you release the mouse. <otice the effect of making e+actly the same selection with the above snap settings disabled ?leftB and enabled ?rightB. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' %2Q

Up and Running: A REAPER User Guide v 4.30

E1a'p+e )n the first screen shot ?belowB, a pro=ect contains two markers, one at the start and one at the end of the pro=ect.

Auppose that you wish to reposition cursor there and then press 5 r+ !.

arker ! at the start of the second verse. Iou can simply position the edit

<ow let us suppose that you want to create arker 2 at the end of the song, reserving arker 1 for a position as yet unspecified. Iou can position the edit cursor at the end of the song and press 5 r+ 4.

@.?

Re'oving 0ar&ers

There are two main methods of removing unwanted markers. *o re'ove a sing+e 'ar&er Position the mouse over the marker 4flag5 and hold down the A+ key while you click the left mouse button. (lternatively, you can right>click over the marker flag and choose Re'ove 0ar&er from the conte+t menu. *o re'ove a series of 'ar&ers Define a time selection that includes all of the markers that you wish to remove. &ight click over the space =ust above the marker 4flags5 within the time selection, and choose Re'ove a++ 'ar&ers fro' i'e se+ec ion from the conte+t menu.

@.B

0ar&er Ac ions

any actions are available ?in the (ctions Mist 'ditorB to help you manage markers. These include 0ar&ers: De+e e 'ar&er near cursor and 0ar&ers: Renu'ber a++ 'ar&ers in i'e+ine order . Chapter %1 e+plains in detail more about actions and about how you can assign them to toolbars or to your own shortcut keys. ,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. %P"

@ E Coops; 0ar&ers and Regions

@.> 5rea ing and Using Regions

&egions essentially take the idea of markers one step further. Iou can create regions for your pro=ects, making it easy to identify, select and work with different passages of a song. *o do #is ... Create a new region from the current selection. To change name or other properties of the region. To specify a color for a region. ake the area of the region the current selection. &emove a region. 0ouse$Ieys ro&es$5o''and 3#if R or right click, 5rea e Region fro' 3e+ec ion 3#if Doub+e c+ic& on region icon. 3#if Doub+e c+ic& on region icon then 3e co+or. Doub+e c+ic& on region icon, or right click on region icon, 3e+ec Region A+ 5+ic& on region icon

*o crea e a Region fro' %o e1is ing 0ar&ers : %. ake sure the Op ion for Coop poin s +in&ed o i'e se+ec ion is enabled. !. Double click on the timeline ?not the markers rowB between the markers to make the selection. 1. &ight click and choose 5rea e region fro' se+ec ion. *o crea e a Region fro' scra c# : %. Click and drag across the background area of the Track Oiew to make the selection. !. &ight click and choose 5rea e region fro' se+ec ion.

E1a'p+e of %or&ing %i # Regions

%. ake sure that the Op ion for Coop poin s +in&ed o i'e se+ec ion is enabled. !. )n the file A++ *#roug# *#e 9ig# 0ARIER3.RPP, double click on the timeline between the first two markers. This causes this area to be selected. 1. &ight click over the timeline, between the markers, and choose 5rea e Region fro' 3e+ec ion. 2. Kold 3#if while you double> click on the new regionFs icon to display the Edi Region dialog. Type Verse " and press En er. P. Double click on the timeline between markers three and four to select this area. Press 3#if R to define a region. &ight click over the icon for this region, choose Edi Region, type Verse ! and press En er. N. &epeat this process using the area between markers five and si+ to create a Oerse 1 region. @eep this region selected. #. Press 5 r+ with the K on the <umeric Pad to 9oom in on that region. 3. Press 5 r+ PgDn to restore the whole pro=ect to the screen. Q. Press Esc to remove the current selection. %". Aave this file. ( number of handy actions are available ?in the (ctions Mist editorB to help you create and manage regions. These include 0ar&ers: -nser region fro' i'e se+ec ion and 0ar&ers: -nser region fro' se+ec ed i e's as well as Regions: Go o ne1 region af er ne1 region finis#es p+aying . Chapter %1 e+plains in detail more about actions and about how you can assign them to toolbars or to your own shortcut keys. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' %P%

Up and Running: A REAPER User Guide v 4.30

@.@ *#e Region 0anager

The Vie%; Region 0anager command toggles the display of the region manager, used to manage regions and markers. This table shows how the region manager manipulates markers and regions using its buttons, its controls, and its conte+t menu ?displayed by right>clicking on its title bar or in its background area.B *o do #is : Renu'ber 'ar&ers and regions in i'e+ine order Go o 'ar&er or region and scro++ in o vie%. Edi 'ar&er$region na'e Edi o #er 'ar&er$region da a 3or ro%s in any order De+e e a 'ar&er or region 3#o%$no s#o% regions or 'ar&ers in Region 0anager 5#ange co+u'n order )ide$3#o% co+u'ns Open Edi region$'ar&er dia+og bo1 5#ange region or 'ar&er co+or Poo' o region or 'ar&er Render regions as separa e fi+es : you do #is Choose Renu'ber in i'e+ine order from conte+t menu. 'nable 3ee& p+aybac& %#en se+ec ing a 'ar&er or region on conte+t menu. Double>click on marker.region name in table then edit. Double>click on marker.region number, start time, end time or length to edit. Click on any column header, e.g. <ame or Atart time. )n the above e+ample, Atart has been chosen as the sort column. Aelect the marker or region in table and press De+e e. &emoves the region definition but not media content. Tick.untick &egions and arkers options ?top rightB.

Click and drag column header left or right. &ight click on any header, deselect.select from list. Double>click on region or marker name. Click on small color icon to left of marker.region number. Double>click on region or marker number. From conte+t menu choose 0ar& a++ regions o be rendered or click in &ender column to select reEuired regions and choose 0ar& se+ec ed regions o be rendered from the conte+t menu, then G. ,se the Render... button to open File, &ender window. Aee Chapter %3. Tick &egions and.or arkers option bo+?esB, choose E1por regions$'ar&ers... from conte+t menu, then type a file name, choose file type and click on 3ave. ,se -'por regions$'ar&ers Frep+ace e1is ingG command from conte+t menu, select file then click on Open. ,se -'por regions$'ar&ers F'erge %i # e1is ingG command from conte+t menu, select file then click on Open.

E1por 'ar&er$region +is as . 1 or .csv fi+e -'por regions$'ar&ers fro' .csv fi+e Frep+ace e1is ingG -'por regions$'ar&ers fro' .csv fi+e F'erge %i # e1is ingG

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@ E Coops; 0ar&ers and Regions

@.A Pro6ec 2ui+ding %i # Regions

&egions can be used as a very powerful pro=ect building tool, especially when you are constructing a pro=ect from samples and.or loops. Two especially powerful features of regions are Drag and drop a region along the timeline to move a region7s entire contents. Kold 5 r+ while dragging and dropping to copy the entire contents of a region.

To illustrate this, take a look at the image above. :e have started building a pro=ect, with an introduction, then a verse ?which has been made into a regionB, a chorus ?also a regionB and a second verse. ;y holding the 5 r+ key while clicking and dragging the icon for the Chorus region to the right, to the end of verse !, we are able to copy the entire chorus to that point ?see belowB.

<otice that any markers and time signature markers that are inside the region will also be copied or moved when the region is copied or moved. 9o e: Iou can also select a series of media items and create separate regions for each item in the selection. To do this, make your selection, then run the action 0ar&ers: -nser separa e regions for eac# se+ec ed i e'. This action can be run from inside the (ctions window, and.or be assigned to a keyboard shortcut, and.or added to a toolbar, and.or added to one of &'(P'&7s menu D see Chapter %1 for more information.

@."0

5#anging #e Pro6ec *i'ebase

Iou can select Time, ;eats ?position, length, rateB or ;eats ?position onlyB as the timebase for your envelopes, events and markers. To do this%. Press A+ En er to display the Pro6ec 3e ings window. Click on the Pro6ec 3e ings tab. !. ake a choice from the *i'ebase for i e's$enve+opes$'ar&ers drop down list, then click on OI. Iou can also change the beat by clicking in the 2P0 bo+ ?on the Transport ;arB and entering a number.

@.""

0ar&ers and 0edia 5ues

)f you need to share your media files with other applications that use media cues ?for e+ample, Aound ForgeB you can convert your markers to media cues when rendering. File rendering is covered in detail in Chapter %3. &'(P'& also has an option on the Oiew menu ?enabled by defaultB to show media cues where they e+ist on imported media items. oreover, you can use the - e' Processing command to create markers within &'(P'& for these media cues.

E1a'p+e
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Up and Running: A REAPER User Guide v 4.30

%. !.

)n the screen shot shown above, our pro=ect includes a number of markers:e can now select the appropriate tracks and render the file ?using the Fi+e; RenderB command, selecting the option 3 e's Fse+ec ed rac&sG from the &ender drop down list, 0ono channels, and ticking (ri e 'ar&ers as cues. )f the rendered files are later imported back into &'(P'&, we can see that the media items contains cues which correspond e+actly with the original markers. This is illustrated below. <otice the series of vertical broken lines which indicate the positions of the media cues.

1.

2. )f we now select any of these media items then right click and choose - e' processing then -'por 'edia cues fro' i e's as pro6ec 'ar&ers then a set of &'(P'& markers and regions is automatically created for the pro=ect.

@."!
@."!."

*e'po 2ased 0usic Produc ion

*i'e 2ased 0usic 2asics

&'(P'& incorporates a number of features which make it a good choice for tempo based music production. Aome of these elements ?such as creating loops and various item propertiesB have already been mentioned in the conte+t of other uses. $thers have not yet been mentioned. )n this section we will draw these elements together to give you a flavour of how &'(P'& can be used for the production of tempo based music. Creating tempo based music is a process that largely consists of creating and seEuencing loops from audio samples. These become the building blocks from which a work is created. )ndividually they can vary in length from a single note to a complete rhythmical pattern, and anything in between. $ne advantage that sampling has always had over )D) is sound Euality. There are any number of human performance techniEues and subtle variations that it are very difficult if not impossible to simulate with )D). Kowever, until recently )D) held one big advantage over sampling. ( )D) track can easily be transposed without altering its tempo, and its tempo can be changed without affecting its pitch. This has not always been the case with audio. ,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. %P2

@ E Coops; 0ar&ers and Regions

Take the e+ample of drum loops. $ne of the biggest problems with using samplers to trigger drum loops has been that when the tempo changes, so does the pitch. Aamplers change pitch by slowing things down or speeding things up. This means that as you play keys up and down your keyboard, you must at the same time handle the issue of beat changes. )t becomes almost impossible to get the e+act tempo you want without having to open the sampler and make ad=ustments to the loops. Today, however, there are available many tools that can do all this for you. The time and pitch altering tools that come with &'(P'& use high Euality algorithms which give you all the options you need to change or maintain such factors as length and intonation. )t thus becomes possible to modify samples accurately and without distorting their essential characteristics. &eCycle is one program that has become popular because its &'8 grooves automatically arrange themselves to the pro=ect tempo on import. ;ring in a groove and it always fits the song. Take a set of items representing slices in a rhythmic groove, set their timebase to beats, and change the tempo >> magic* They move all over the place but remain e+actly in rhythmic time according to the tempo. ,sing &'8 files you are able to play back loops at different tempos without altering the pitch. Iou7re on your way to being able to create drum loops and other sounds e+actly the way you want them, and with relatively little effort. Mater in this chapter we7ll have more to say about &eCycle, and indeed about &'(P'&7s own dynamic splitting capabilities which puts this magic at your disposal. (fter dynamic splitting, =ust double click in the ;P area of the transport bar, enter a number and, hey presto* The whole track plays faster, or slower, in perfect pitch. :hat7s more, the whole track will speed up or slow down naturally, without glitches, pauses or stuttering.

@."3

Pro6ec 3e ings

;efore creating any music, you should make sure that your pro=ect settings are specified correctly. To display the pro=ect settings dialog bo+, press A+ En er or choose the command Fi+e; Pro6ec 3e ings: from the main menu. )n particular, check the following ,nder Pro6ec 3e ings, Pro=ect beats per minute. ,nder Pro6ec 3e ings, Time signature. ,nder Pro6ec 3e ings, Timebase for events. Iou can select Time, ;eats ?position, length, rateB or ;eats ?position onlyB. The former locks items to the timeline so that changes in tempo will cause items to be resi9ed and their play rate ad=usted. :ith ;eats ?position onlyB, the start of the item is locked to the beat, but the item contents are not affected or modified by tempo changes. ,nder Pro6ec 3e ings, Default pitch shift mode and parameter. &emember that you can change the timebase for individual tracks ?right>click, 3e rac& i'ebaseB and for individual media items ?F!, )tem timebaseB. Iou can also change properties such as ;eats per inute and Time Aignature as often as needed during the song. For e+ample, you can increase the tempo for one passage then restore it to its original setting at the end of that passage. Ahortly we will see an e+ample of how this is done.

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Up and Running: A REAPER User Guide v 4.30

@."3." Audio 0edia - e' Proper ies

Iou can record your own media items or import them from e+isting files. Iou can also change various properties such as playback rate and pitch for individual media items. Iou can specify parameter settings for individual media items and.or for selection of items. For e+ample, if you wish to change the pitch or playback rate for several items you can select those items and press F! ?or right click anywhere in the selection and choose the - e' proper ies: commandB. )n the e+ample shown, we are increasing the playback rate for the selected items by PJ and preserving the original pitch. <otice that you can override the pro=ect default pitch shift mode if you wish. Iou may find that different algorithms work better with different kinds of audio item ?such as vocal, snare, kick or bass guitarB. ore information about time stretching can be found in the section *i'e and Pi c# 0anipu+a ion.

@."3.!

5rea ing a Coop fro' a *i'e 3e+ec ion

&emember that you are able to select any part of an e+isting media item and use it to create a loop. This sub=ect is covered earlier in this chapter. Chapter %1 will introduce you to &'(P'&7s actions and the action list editor. This can be used to assign keyboard shortcuts to many actions that can be useful when you are working with loops and time selections. There are actions, for e+ample, to e+tend the time selection in either direction, to reduce it from either direction or nudge it in either direction. ;rowsing and searching the action list will help you to identify those which are most useful to you. Chapter %1 will show you how to bind these actions to your own shortcut keys.

@."3.3

5rea ing a Coop fro' *ransien s

(nother method of selecting the area reEuired for your loop is to use the transients in an e+isting media item. The following actions are =ust some of the many that can be found within the (ction Mist 'ditor ?Chapter %1B. :here no e+isting keyboard shortcut e+ists, you can assign your own if you wish. )tem navigation- ove cursor to nearest transient in item )tem navigation- ove cursor to ne+t transient in item )tem navigation- ove cursor to previous transient in item Time selection- '+tend time selection to ne+t transient in items 5 r+ *ab *ab 3#if *ab

(ssuming that you are using the default key bindings shown above, and that 5 r+ A+ *ab has been assigned to E1 end i'e se+ec ion o ne1 ransien in i e's, you can select the item, navigate e+actly from transient to transient and select the e+act area reEuired. Iou can select the item, copy and paste it elsewhere, then right click over it, choosing 5opy +oop of se+ec ed areas of i e's from the conte+t menu. These are =ust a few of the actions and commands that can be used to suit your own method of working when creating your tempo>based pro=ects. '+plore the others and get to know them. They include5opy se+ec ed area of i e's *ri' i e's o se+ec ed area 3p+i i e's a prior =ero crossings

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@ E Coops; 0ar&ers and Regions

@."3.4 *ransien De ec ion 3e ings

The command Vie%; *ransien De ec ion 3e ings causes the window shown here to be displayed. This can be used to make your transient detection sound more natural and human, by introducing subtle variations in sensitivity and.or volume threshold.'nabling the 9ero crossings option will help to prevent unwanted clicks from occurring.

@."3.?

2ea 5orrec ion

&'(P'& includes many actions to assist you with beat detection and beat correction. There are actions to detect tempo, create measures from time selections, e+tend or swap time selections to the ne+t transient, and more. Aome of them are on the conte+t menus and all of them are in the (ction Mist. (ny action can be assigned shortcut keys, run from the action list window itself, and.or added to &'(P'&7s Ac ions menu. ore information about the (ction Mist can be found in Chapter %1. Kow you string these actions together is up to you. Kere is an e+ample. Iou might have a live performance that was not done to a click. )t is a simple process to go thru the track and manually tempo>map the whole performance. :e7re going to assume that you are using the following keyboard assignments*ab 5 r+ A+ *ab 5 r+ 3#if A+ *ab )tem navigation- ove cursor to ne+t transient in items. Time selection- Awap left edge of time selection to ne+t transient in items Time selection- '+tend time selection to ne+t transient in items. )n the e+ample shown here, we have used our shortcuts to create and e+tend e+tend the selection out, as reEuired.

E1a'p+e

:e then instruct &'(P'& to 5rea e 'easure fro' i'e se+ec ion Fde ec e'poG. :e could do this either from the timeline7s conte+t menu or using a keyboard shortcut.

:e then use our keyboard shortcuts to capture the ne+t time selection reEuired, again using that time selection to create a measure with &'(P'& auto detecting the tempo.

This process is repeated until we come to the first place where a change of time signature is reEuired.

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Up and Running: A REAPER User Guide v 4.30

;y right clicking over the timeline we display the conte+t menu ?see left and belowB and select the command 5rea e 'easure fro' i'e se+ec ion Fne% i'e signa ureG. This causes the Edi *i'e 3igna ure dialog bo+ to be opened, which you can edit at will then click on OI. This process can then be repeated up to the end of the performance.

@."3.B

Ouan i=ing - e's

&'(P'& allows you to Euanti9e your audio items. This essentially means lining them up according to the pro=ect tempo or time signature. Iou might have a situation in which you have copied and pasted a sample several times within a track ?or across several tracksB and you need to ensure that they are correctly aligned. To ensure that all items are aligned to the beat, you simply do this%. Double>click on the track in the Track Control Panel to select all the media items in the track. (lternatively, you could right click drag with your mouse to marEuee or 6lasso6 them. !. &ight click over any of the items, then choose - e' Processing then Ouan i=e i e' posi ions o grid. This causes the Ouan i=e - e' Posi ions dialog bo+ to be displayed. 1. Apecify your reEuired parameters, including the note length setting ?%.3, %.2, %.!, %, !, etc.B and whether you want the items stretched to fit. (n e+ample is shown on the right. 2. Click on Process for the Euanti9ing to be done. )n the e+ample above, the option to also Euanti9e item ends and stretch to fit was enabled.

@."4

Dyna'ic 3p+i ing

Dynamic splitting is a very powerful feature which has a number of applications. Iou have already seen ?in Chapter NB how it can be used to remove silence. For e+ample you might have recorded a pretty good bass line that you7d like to use for a song. aybe it was recorded at QN beats per minute. The timing might be a bit out at times but on the whole you7re pretty pleased with it. The trouble is that you want to use %!" beats per minute for your new song. Kere7s another e+ample. aybe you7ve recorded a killer slide guitar track. Iou like it but you think it would be pretty clever to give the tune one or two tempo changes. Dynamic splitting is the answer to both these challenges. Dynamic splitting works on the principle that you can instruct &'(P'& to split any media item ?or selection of media itemsB according to criteria that you specify. ;asically it works like this Iou first select the media item ?or itemsB to be split. Iou right click over the item and choose - e' processing; Dyna'ic sp+i i e's: from the menu. This causes the Dyna'ic sp+i i e's dialog bo+ to be opened.

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@ E Coops; 0ar&ers and Regions

Iou give it the information that it needs to work out where to split your items. This will essentially either be to split the track at its transients or to use a noise gate to split whenever the audio volume falls below a specified amount. (s you will shortly see, each has its separate uses. &'(P'& then 6shadow splits6 your selected item?sB. That is to say, it indicates with a row of colored bars e+actly all of the points at which the item will be split if the parameter settings are left as they are. Iou make such ad=ustments as you wish to the parameter settings until satisfied that they are right. Iou tell &'(P'& to go ahead and split the items.

$nce split, each slice of the original item will be set to the current timebase. Iou can set any of the splits to any other timebase you choose. Iou can use the items together or individually, according to your needs. Auddenly you7ve got a whole library of samples* Dynamic splitting is non>destructive. This means that your original audio files ?:(O, P1, ()F or whateverB remain intact. <evertheless, if you are going to use this method to build a sample library, it7s often a good idea to work on a copy of the original track. This =ust makes it easier to go back to the original if you wish to use it to make a fresh set of samples. Met7s now take a look at an e+ample or two.

@."4."

3p+i ing a 0edia - e' in o 3a'p+es

)n the e+amples below, a recording of a resonator guitar is selected. :e have then chosen - e' processing then Dyna'ic sp+i i e's from the conte+t menu. Atudying these e+amples will help you to understand how the settings work. )n every case, the A ransien s option should be enabled. These e+amples should be sufficient to get you started. (fter that, it7s up to you to e+periment according to your particular needs. E1a'p+es $nly a minimal number of options are used here. )f you specify a very low minimum slice length &'(P'& will seek out transients with a high degree of sensitivity. This will result in our media item being split into a very large number of items. This might be suitable, for e+ample, if we are intending to introduce tempo changes to the song. The larger the number of samples and the shorter their length, the more sensitive and immediate will be the track7s response to any such changes. Consider the two e+amples shown. <otice ?rightB that 2es o %ors has been selected as the method for constraining slice length. This option is likely to be preferred when splitting at For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' %PQ

Up and Running: A REAPER User Guide v 4.30

transients. <otice also that we have specified that we want to keep the beat locations unchanged even if the tempo changes. <ow let7s see what happens when we bring some of the other options into play. )n the case shown above right we have set a largish minimum slice length with the result that our media items are Euite longer. This might be appropriate if we are creating samples to be used with a software synthesi9er. Kowever, we might want to do some more fine tuning. )n this ne+t e+ample ?lower rightB, we have increased the minimum slice length and used the Reduced sp+i s option to further reduce the number of splits. )n this particular case, these settings might be about right for creating our sample library from this bass guitar track. ;efore splitting it might in some instances be worth considering whether you wish to enable the noise gate settings to allow you to also remove silence. :hether you would do this would depend largely on the instrument in Euestion and the nature of the tune and arrangement. )f the instrument is played continuously and produces an audio signal similar to that shown above, then there may be little point in using the noise gate. ;elow we can see how part of our original media item now looks after splitting.

This ne+t e+ample ?rightB shows splitting at transients with a noise gate employed to remove unwanted background sounds such as drawing breath from a vocal track. )n this e+ample if we were to set the gate threshold too low, too many unwanted sounds would still get thru. )f we set it too high, we risk removing some of the Euieter vocal material. Iou are likely to find that Euite a fair amount of e+perimenting is needed to get the settings =ust right.

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@ E Coops; 0ar&ers and Regions

@."4.! 5#anging #e Pro6ec *e'po

$nce an item has been dynamically split, you can create time signature markers for changes in tempo to which your music will respond when played back. To create these, follow this seEuence%. &ight click over the timeline and choose -nser i'e signa ure 'ar&er: from the conte+t menu. Apecify your reEuired changes in ;eats per inute or time signature. )f you wish, you can select the option for a gradual tempo transition between markers. 1. Click on OI.

!.

Iou can double>click on any time signature marker to edit its settings and you can drag it along the timeline to change its position. ore information about time signature markers and their behavior ?including editing and moving markersB can be found near the end of Chapter Q.

@."4.3

5rea ing a 5#ro'a ic 0-D- - e'

:hen dynamic splitting you can select the option to 5rea e c#ro'a ic 0-D- i e' fro' s+ices.

This causes a )D) item to be created that creates one )D) event for each slice, moving up the chromatic scale. $ne common application of this is for sample triggering. Auppose that you have a groove that you have assembled from various items from different sources. Iou can now create chromatic midi from the items and then load those items into a sample player, each mapped to the ne+t note in seEuence. The midi will then play the groove. oving the midi notes around changes the groove. )t is also Euite easy to swap out e+actly what it is that is being triggered. (nother e+ample is hit replacement. Iou can dynamic split a drum part, creating chromatic midi from it. Iou then have one velocity>sensitive midi note for each hit. )t7s then a straightforward =ob to delete a bad hit and use the midi note to trigger a drum sample. (lternately, you can use the whole midi track to trigger a drum sample to double a recorded part ?thereby fattening itB. The chromatic )D) item can, of course, be edited like any other )D) item with the )D) 'ditor, and used to play any synthesi9er or sample player. ( comprehensive section on using the )D) 'ditor can be found later in this ,ser Huide, at Chapter %!.

@."4.4

3aving and Using 3a'p+es

(fter splitting, you can save any of the individual slices as samples. To save an individual sample, simply right click over it and choose G+ue i e's from the conte+t menu. The sample wave file can then be imported for use with any OATi sampling plug>in, such as &eaAampl$maticP""". &emember also that if you save the original file with the split items, you can return to it as often as you need to whenever you wish to use it to create more samples.

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@."? RE4 Fi+e 3uppor

&'8 files consist of sets of groove slices. They are created in and e+ported from a program called Recyc+e for the purpose of being used in the creation of tempo based music. Iou can import these files into &'(P'& either using the -nser ; 0edia command or by dragging and dropping from the edia '+plorer. :hen you do this, they will automatically position themselves according to the current tempo. $nce you have imported your &'8 files into &'(P'&, you can manipulate and use them in e+actly the same ways as you can use other media items that have had dynamic splitting applied within &'(P'&. For e+ample, imported &'8 slices can be made to keep their beat location even if the pro=ect tempo is changed. )n your Preferences settings, under 0edia; Video$RE4$0isc there are a number of options available for determining how your &'8 files behave. Iou can choose to import &'8 files as 2ea s+ices #a dyna'ica++y ad6us o e'po c#ange or as A sing+e +oopab+e i e' a #e curren pro6ec e'po , or ask &'(P'& to A+%ays pro'p . Iou can also specify &'8 tail behavior as any of Preserve a++ s+ice ai+s, 5#op a++ bu 5#op on+y #e fina+ s+ice ai+ , or 5#op a++ s+ice ai+s #e fina+ s+ice ai+.

The (ction list also includes a useful action - e': e1p+ode RE4 i e' in o bea s+ices. This can be assigned its own shortcut key if you wish.

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A E Pi c# and *i'e 0anipu+a ion A

A."

Pi c# and *i'e 0anipu+a ion

5#anging Pi c# for -ndividua+ 0edia - e's

The pitch of any item can be changed from the 0edia - e' Proper ies dialog bo+. The pitch is measured in semitones. Iou can enter a number to raise or lower the pitch of any item by that number of semitones, or you can type in a multiplier, such as 1".?. <otice that there is a drop down list that you can use to select your preferred Pitch shifting . Time stretching algorithm. Choices are Pro=ect Default. Aound Touch. Dirac M' ?better Euality, more CP, intensiveB. Aimple windowed. WlastiEue !.% Pro ?bestB. WlastiEue !.% 'fficient ?less resource intensive than elastiEue ProB. WlastiEue !.% A$M$)AT ?suitable for monophonic itemsB. )f you choose one of these XlastiEue algorithms, you should also select a Parameter from the different options available for each of the three algorithms. To learn more about these and other features of elastiEue, go to the 9plane web site # p:$$%%%.=p+ane.de$inde1.p#p . To open the 0edia - e' Proper ies dialog bo+ for any item, first select the item, then press F!. The default algorithm is determined by your Pro=ect Aettings. @eyboard shortcuts allow you to easily and Euickly change the pitch of any selected item or group of items without needing to open the edia )tem Properties bo+Ieyboard 3#or cu 3#if A 3#if > 3#if 0 3#if @ Descrip ion ove pitch down one semitone. ove pitch down one cent. ove pitch up one semitone. ove pitch up one cent.

Iou can also use a take pitch envelope for pitch changes. &ight click on the take ?or media item if only one takeB and choose *a&e; *a&e pi c# enve+ope from the menu. For more sophisticated and adventurous pitch shifting escapades you can try using one of the pitch manipulation plug>ins that are supplied with &'(P'&. Aimply open the F8 window for a track, click on Add, then in the filter list type pitch to display a list of what is available. Ahown here is the /3 Pi c#: Oc avedo%n plug>in. $ther SA pitch shift plug>ins include fft>ps, mdct>shift, octaveup, pitch!, pitchdown and superpitch. These are each suited to particular tasks, but the most powerful of the available pitch shift plug>ins is ReaPi c#. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' %N1

Up and Running: A REAPER User Guide v 4.30

A.! Using ReaPi c#

Aimply insert the OAT &eaPitch plug>in into a trackFs F8 chain and you have a powerful pitch manipulation tool at your disposal. For e+ample, you can use &eaPitch to create vocal harmonies. The first illustration ?rightB shows &eaPitch inserted into the F8 chain for a vocal track. The 'lastiEue Aoloist algorithm has been selected, together with the onophonic parameter. <otice that the pitch has been shifted down by !P cents and the effect panned P"J right. )n the second illustration, you can see that we have added a second shifter, this time taking the pitch up by !P cents and panning the effect P"J left, thus creating an e+tra harmony. <otice also that in the second illustration we have also ad=usted the panning and the mi+ of the wet and dry signals to produce a more pleasing overall effect.

Pi c# 3#if ing and 5#anne+ 3p+i ing )f you intend to do a lot of work in this area, you should definitely take the time to get on top of &'(P'&Fs channel splitting capabilities. These are e+plained in some detail in the section 0ore REAPER Rou ing E1a'p+es ?and elsewhereB. Mook especially at the e+ample headed 5#anne+ 3p+i ing and Pi c# 3#if ing. :ith channel splitting, you can, for e+ample, not only create several vocal harmonies, but also apply different F8 plug>ins or plug>in chains ?such as &everb or DelayB to each of your different harmonies.

,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. %N2

A E Pi c# and *i'e 0anipu+a ion

A.3 Using ReaPi c# %i # 0u+ ip+e *rac&s

:eFve already looked at how &'(P'& can send audio streams from one track to another. MetFs now have a look at how this feature might be used with &eaPitch.

)n the e+ample shown on the left, sends are used to send a signal from a Mead Oocal Track to two other tracks. 'ach of these other tracks has its own F8 chain which includes &eaPitch, and of course the pan and volume faders for these tracks can be controlled independently of each other and of the lead vocal. Chapter %P will help you to understand how to go about setting up a signal flow such as this.

A.4

-ns ru'en *uning %i # Rea*une

&eaTune is a plug>in that can be used to help you correct the pitch on your recorded media items. This is commonly used with vocal tracks. Kowever, it can also be used to help you to tune an instrument D see illustration on right.

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Up and Running: A REAPER User Guide v 4.30

A.? Pi c# 5orrec ion %i # Rea*une

The plug>in Rea*une can be used for pitch correction. )t can be used in either manual or automatic mode. )n either mode, XlastiEue A$M$)AT is a suitable algorithm. (utomatic mode is illustrated top right. To apply it, first insert the Rea*une plug>in into a trackFs F8 window. Iou should then Aelect the page headed 5orrec ion. 'nable the Au o'a ic pi c# correc ion option. Aelect the reEuired algorithm and parameter. Apecify the correct key and play. &eaTune will then do the rest for you* anual mode is illustrated below right. To use it, first insert the Rea*une plug>in into a trackFs F8 window. Iou should then Aelect the page headed 0anua+ 5orrec ion. 'nable the 0anua+ pi c# correc ion option, and other options as preferred. 'nable or disable the other options as reEuired ?see belowB. ,se your mouse ?click and dragB to draw in your corrections. $ptions which you can choose to use or not are Upda e, Preven oc ave s#if s, and Preven over+apping seg'en s. Iou can also 5+ear the display at any time.

,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. %NN

A E Pi c# and *i'e 0anipu+a ion

A.B *i'e 3 re c#ing

The *a&e proper ies and *a&e pi c# s#if $ i'e s re c# 'ode sections of the 0edia - e' Proper ies dialog bo+ ?F!B can be used to stretch or shrink the time for an item. To do this, ad=ust the P+aybac& Ra e. )n the e+ample shown ?rightB, playback rate is increased by !J and the option to Preserve Pi c# has been selected. WlastiEue !.% Pro has been selected for the algorithm to be used. To open the )tem Properties dialog bo+ for any item, first select the item, then press F!. To make the same change for a number of items, do this%. !. 1. 2. P. Aelect all of the reEuired items. Press F!. :hen the - e' Proper ies dialog bo+ appears, you should easily be able to identify those properties where changes can be made to several items at once. These include pitch and playback rate ?see belowB. ake your changes. Click on OI.

The ultiple edia )tems Properties dialog bo+ is shown here. <otice that some of the options have been dimmed and are not available when setting properties for multiple items. ost options, however, are available. (nother method that you can use to ad=ust the playback rate of any media item ?or selected group of media itemsB is this%. !. Aelect all the reEuired items. Kover the mouse over the end of one of the items until it turns to a double>headed arrow, as you would for slip>editing. Kolding down the A+ key, click and drag the mouse, left to increase playback rate, right to slow it down. &elease the mouse when finished.

1.

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Up and Running: A REAPER User Guide v 4.30

<otice that if you have enabled the option Disp+ay 'edia i e' pi c#$p+ayra e if se ?Preferences, (ppearance, ediaB any changes to Pitch or Playback &ate will be displayed on or above the edia )tem?sB in Track Oiew.

A.>

5#anging #e Pro6ec P+ayra e

Iou can ad=ust the play rate for the whole pro=ect, using the Transport ;ar. The pro=ectFs default pitch shift mode will be applied. Iou can use any of these methods Click in the Ra e edit bo+ and type a new value ?e.g., to speed up by %"J type %.%B Kover the mouse over this edit bo+ and scroll the mousewheel, up to increase play rate or down to decrease it. Drag the hori9ontal fader to the immediate right of the play rate edit bo+.

)n addition to these methods, you can right click over the same edit bo+ or the play rate rotary control and select one of the options from the menu.

<otice that from the menu you can &eset the playrate to %.". )ncrease or decrease the playback rate by any of the values listed. 'nable or disable the option to Preserve pi c# in audio i e's %#en c#anging 'as er p+ayra e . (pply play rate to the current ;P . Aet the playrate fader range according to any of the available options.

9o e: )f the playrate fader is not visible in your transport bar, you can display it by right>clicking over any part of the Transport ;ar background and selecting the option to 3#o% p+ay ra e con ro+.

,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. %N3

A E Pi c# and *i'e 0anipu+a ion

A.@ Using *i'e 3igna ure$*e'po 5#ange 0ar&ers

The default pro=ect ;eats per inute and Time Aignature for any pro=ect are determined by the values assigned in the Pro6ec 3e ings window. Iou can change this for the entire song by any of these methods Display the Pro=ect Aettings window ?A+ En erB and change it there, or Press ( to return the edit cursor to the start of the song, then either ... Type your new value in the ;P edit bo+ or Time Aignature edit bo+ on the transport bar, or ... Kover your mouse over the ;P edit bo+ on the transport bar and scroll the mousewheel up or down ?see rightB.

)f you wish to make time signature or tempo changes within a song, your Pro=ect Aettings should use the default setting 2ea s Fposi ion; +eng #; ra eG. The pro=ect tempo map envelope can be used for changes ?see Chapter %NB. This works for the most part =ust like any other automation envelope. <ote, however, that editing multiple points at once on this envelope causes each point to be ad=usted pro rata, not by a constant ;P value. Iou can make changes within a song, by inserting a Time Aignature.Tempo Change arker. This changes the beat after the marker position. To change these at any current cursor point, use the ;P or time signature edit bo+ in the transport bar, or%. Position the edit cursor at the reEuired place in the song. !. From the menu, choose the -nser command, then *i'e signa ure$ e'po c#ange 'ar&er ?or press 3#if 5B. 1. Apecify your reEuirements in the dialog bo+ ?rightB. (vailable choices include 2P0, whether to Gradua++y ransi ion e'po o ne1 'ar&er, 3e i'e signa ure and A++o% a par ia+ 'easure before #is marker.. 2. Click OI. Time Aignature markers can later be modified, for e+ample by editing ?double>click on markerB or moving them ?drag and dropB. <ote, however, the following Tempo.time signature markers are always pinned to beat position rather than time. anually editing time signature markers reEuires them to be placed at the start of a measure. :ith snap enabled ?Chapter NB, time signature changes snap to bars, tempo changes snap to beats. :ith snap disabled ?Chapter NB, moving time signature markers will modify the preceding tempo if necessary to ensure that the pro=ect contains only complete measures. Time signature changes that truncate the previous measure are marked with a X. Time signature correction may be problematic when a pro=ect contains linear tempo transitions. $ne tempo.time signature marker cannot be moved past another. <otice that your &uler conte+t menu includes a number of other commands relating to pro=ect tempo and measure D these are3e pro6ec e'po fro' i'e se+ec ion Fde ec e'poG 3e pro6ec e'po fro' i'e se+ec ion Fne% i'e signa ureG... 3e pro6ec e'po fro' i'e se+ec ion Fde ec e'po a+ign i e'sG 5rea e 'easure fro' i'e se+ec ion Fde ec e'poG, and 5rea e 'easure fro' i'e se+ec ion Fne% i'e signa ure : <ote also that the Preferences; Audio 3ee&ing page includes the toggle option P+aybac& posi ion fo++o%s pro6ec i'ebase %#en c#anging e'po D see Chapter %Q.

For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' %NQ

Up and Running: A REAPER User Guide v 4.30

,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. %#"

"0 E *#e REAPER 0i1er and 0as er "0 *#e REAPER 0i1er and 0as er
"0." -n roduc ion
,p until now, most of the emphasis has been on working in Track Oiew. This is hardly surprising, as that is the area where you will find yourself spending most of your time ?at least with audioB and doing most of your work. (s your mi+ progresses, however, you will find that the &'(P'& i+er begins to assume more importance. The contents of this section should help you to familiarise yourself thoroughly with the &'(P'& i+er and its various features and capabilities. Iou will also learn more about how to get the best out of the &'(P'& aster. i+er display is toggled on and off using the Vie%; 0i1er command ?5 r+ 0B.

"0.!

0i1er 5o''ands

The i+er menu is shown by right>clicking over the title bar or any any vacant area of the mi+er window, or by clicking over the word 4 aster5 on the aster track ?see rightB, or ?when dockedB right>clicking on the i+er tab in the docker. This menu offers you a great deal of fle+ibility as to how the mi+er is displayed. For e+ample, you can choose whether or not you wish to display ?and be able to manageB your F8 and sends in the mi+er. The main mi+er layout options are summari9ed in the table overleaf. Iou can also access the TCP conte+t menu in i+er view by right>clicking over any track name or number.

"0.3

0i1er Cayou s and 3creense s

)f the commands on the i+er menu let you select what is displayed in the mi+er, then mi+er layouts let you decide how it is displayed. The chapter immediately after this one, Chapter %% > Pro=ect anagement Features, covers the topic of layouts ?TCP and CPB in more detail, but for now note the following Mayouts are created and saved with, and attached to, individual color themes, not within &'(P'& itself. (n e+ample of a compact mi+er layout is shown here ?leftB. @eep in mind that the theme that you are using might not include this e+act same layout. To select a theme, use the Op ions; *#e'es command. Mayouts can be accessed by choosing 3e *rac& Cayou then 0i1er Pane+ from the TCP conte+t menu, or Op ions; Cayou s from the main menu, or by the Vie%; 3creense s$ Cayou s command, then selecting the Cayou s tab. i+er layouts are assigned on a per track basis. )f using the conte+t menu, you should first select the tracks for which you want the layout assigned. )f using the Acreensets.Mayouts window you can choose to apply the layouts globally or to selected tracks only. ;efore getting too involved with using layouts, however, it will pay you to familiarise yourself with the i+er menu commands and what they do.

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Up and Running: A REAPER User Guide v 4.30

"0.4 0i1er 0enu 5o''ands and Op ions
Descrip ion Meads to a sub>menu of toggle options for 3#o% in 'i1er 3#o% on rig# side of 'i1er 3#o% in separa e %indo% 3#o% in doc&er aster Track-

5o''and 0as er *rac&

The Vie%; F+oa ing 0i1er 0as er command ?from &'(P'&7s main menuB can also be used to toggle the floating of the i+er aster in its own window. 3#o% fo+ders 3#o% nor'a+ op +eve+ rac&s 3#o% rac&s #a are in fo+ders 3#o% rac&s #a #ave receives 3cro++ vie% %#en rac& ac iva ed Au oEarrange rac&s in 0i1er Determines whether track folders are shown. Determines whether tracks not in folders are shown. Determines whether tracks in folders are shown. Determines whether tracks with receives are shown. )f there is not sufficient room in i+er view to display all tracks, the mi+er will scroll to follow the TCP track selection. i+er track order will follow any changes to track order made in the TCP. Disable this if you want to arrange tracks in a different order in the CP and TCP. Places track folders to the left. This can be useful at times in bringing all your submi+ folders, but confusing at other times for separating folders from their child tracks. Places all tracks with receives to the left. 'specially useful if the only tracks with receives are all buses. 'nables folders to be opened.closed to show.hide child tracks. Ahows tracks displayed in up to three rows when tracks will not fit in one row and the mi+er window has sufficient height. Causes tracks to be displayed in as many rows as will fit in the track height, regardless of how few tracks there are. Displays a Aends bin above the track controls. Displays an F8 chain area above the track controls. Ahows F8 parameter controls- right>click on any of these to assign control to an F8 parameter. Track icons ?if usedB will be shown in tracks in the mi+er. Displays the last track in folder icon for last track in folder. Docks the mi+er in the &'(P'& docker. Closes the i+er view.

Group fo+ders o +ef

Group rac&s #a #ave receives o +ef 5+ic&ab+e icon for fo+der rac&s o s#o%$#ide c#i+dren 3#o% 'u+ ip+e ro%s of rac&s %#ere si=e per'i s 3#o% 'a1i'u' ro%s even %#ere rac&s %ou+d fi in +ess ro%s 3#o% sends %#en si=e per'i s 3#o% F4 inser s %#en si=e per'i s 3#o% F4 para'e ers %#en si=e per'i s 3#o% rac& icons in 0i1er 3#o% icon for +as rac& in fo+der

Doc& 0i1er in Doc&er 5+ose

*ip: Double>click on any track panel in the i+er to toggle on and off 9oom to track in the TCP. This behavior can be changed on the 0ouse 0odifiers page of your preferences ?see Chapter %1B. Iou can also use the 0ouse 0odifiers page to add further actions of your own. For e+ample, you could assign 5 r+ Doub+eEc+ic& to the action *rac&: 3e o cus o' co+or : Kow to assign your own actions is also e+plained in Chapter %1. ,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. %#!

"0 E *#e REAPER 0i1er and 0as er

"0.? 3#o%ing and )iding *ypes of 0i1er *rac&s

Take as an e+ample the above pro=ect. )t has two folders ?or parentsB > Oocals and )nstruments, containing two and three child tracks respectively > and one top level track, called &everb. There are sends from the two folders to the &everb track ?which acts as a busB, and most of the tracks have some F8 in them. The first five of the Y3#o%T commands on the i+er menu are used to determine which types of track are displayed in the mi+er. The si+th 4Ahow5 command determines whether the master is shown on the left or the right. )n the e+ample shown here we might have reached a stage in our mi+ing where we are happy with the balance within our submi+ folders and want to focus on getting the balance between the submi+es and the level of our vocal and instrument folders and our reverb buss =ust right. )n this case, we would elect not to show tracks that are in folders, but to show only folders, tracks that have receives and our master track ?on the rightB. The e+ample pro=ect shown here is a simple oneimagine how useful this feature might be if you were working on a pro=ect with perhaps N" individual tracks inside perhaps a half do9en submi+ folders and with maybe another half do9en buses* )n that case, you might also find one or more of the 4Hroup to left5 commands could also be handy. The i+er menu does not have the facility to specifically hide or unhide named individual tracks. Kowever, this can be done using the Track anager. The Track anager will be e+plored and e+plained in Chapter %%.

"0.B

(or&ing %i # F4 in #e 0i1er

)f you wish, you can do =ust about all of your F8 management working in i+er view. Iou can add F8 to tracks, move or copy them from one track to another, open the F8 window for any plug>in, or open the track7s F8 chain for more complete F8 control. For this to be possible, though, you need to enable on the i+er menu the option 3#o% F4 inser s %#en si=e permits. The table below summari9es these and other activities.

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Up and Running: A REAPER User Guide v 4.30

-n order o do #is ... 5#ange #e order of p+ugEins in #e F4 5#ain. 5opy F4 fro' one rac& o ano #er Fsi'i+ar o *rac& Vie%G. Disp+ay F4 con e1 'enu Disp+ay #e Add F4 %indo%. Disp+ay #e F4 c#ain and #e con ro+ %indo% for #a p+ugEin. 0ove F4 fro' one rac& o ano #er. Open and f+oa a p+ugEinNs con ro+ %indo%. Re'ove a p+ugEin fro' F4 5#ain. Re'ove a++ p+ugEins fro' a rac&Ns F4 5#ain. *ogg+e off+ine s a us of a p+ugEin. *ogg+e bypass s a e for a p+ugEin. : you do #is Drag and drop up or down the order. Drag and drop F4 to F8 area on another track. Rig# c+ic& on any displayed plug>in name. 5+ic& in any vacant area of the F8 area. 5 r+ c+ic& on any displayed plug>in name. A+ drag and drop to another track. 5+ic& on the plug>in name. A+ c+ic& on plug>in name. A+ c+ic& on trackFs F8 button. 5 r+ s#if c+ic& on plug>in name. 3#if c+ic& on plug>in name.

)n addition, right clicking over the F8 area of any track in the i+er produces a conte+t menu as shown on the right. )f you click over an empty part of the F8 area then some commands ?such as F+oa F4 configura ionB will not be available. )f you right click over an actual plug> in name then you will be presented with the full menu. Iou can use this for any of the followingAdd F4... $pens F8 browser for you to select and add any installed F8 plug>in?sB, Ouic& Add F4 Displays a sub>menu of recently used F8- you can select any item from this menu to add to the track7s F8 chain. Add F4 5#ain Displays a menu of F8 chains, any of which you can select and insert in this track. F+oa F4 configura ion $pens the F8 window for the selected plug>in. 3#o% F4 c#ain $pens F8 chain for the track- same as clicking on the track7s F8 button. 2ypass c#ain Aets F8 chain for this track to bypass. Aame as clicking on the track7s F8 enable.disable button. 2ypass F4 Aets the individual plug>in to bypass mode. Off+ine F4 Aets the individual plug>in offline. De+e e F4 &emoves this plug>in from this track7s F8 chain. Rena'e F4 ins ance (llows you to give an individual name to this particular F8 instance.

*rac& F4 Para'e er 5on ro+s

Iou can turn your mi+er into your own truly customi9ed mi+ing console by adding controls directly to the mi+er track panels for those F8 parameters that you find you are most likely to need to tweak most often.

,ou8++ find 'ore usefu+ infor'a ion abou #is in 5#ap er ""; Pro6ec 0anage'en Fea ures. 0ean%#i+e; i 8s easy o ge s ar ed. Ce 8s see #o% you %ou+d go abou crea ing a conso+e +i&e #a s#o%n be+o%.

,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. %#2

"0 E *#e REAPER 0i1er and 0as er

<otice the rotary faders for ;and ! and ;and 2 'C gain on every track.

E1a'p+e
Iou can use one of your e+isting pro=ect files for this e+ample. %. $pen one of your earlier pro=ect files, for e+ample, A++ *#roug# #e 9ig# 0ARIER3 and save it as A++ *#roug# #e 9ig# 0-4ER. !. Display the i+er. ,ndock it, and ad=ust the width and height of this window as you prefer. 1. From the i+er menu enable 3#o% F4 inser s %#en si=e per'i s and 3#o% F4 para'e ers %#en si=e per'i s. 2. )nsert into the first track an instance of ReaEO. P. Aelect the band 1 settings page. N. Click once on the Gain fader control for this band, then click on the Para' button to display the Param menu. #. Click on 3#o% in rac& con ro+s. 3. Aelect the band ! settings page and click once on the gain fader for this band. Q. Click on the Para' button to display the Param menu. Click on 3#o% in rac& con ro+s ?see aboveB. Close the 'C window. %". )n the mi+er, you should now see these two controls displayed for track %. Drag and drop the &ea'C from track % in turn to each of the other tracks. Aave the file. 9o e ": These controls can also be assigned within the i+er. &ight>click over the control button, then choose the F8 and parameter from the conte+t menu ?see aboveB. Choose A++ para'e ers if you wish to add a control for each of the F8 parameters. 9o e !: These controls will be added to the track control panel as well as the mi+er panel. Iou could of course have created as many controls as you like, not =ust these two. This e+ercise was =ust an e+ample. 9o e 3: :hen we revisit this topic in Chapter %%, you will see that we have a couple of options up our sleeves for making it easy to have controls like this automatically added to new tracks as they are created.

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Up and Running: A REAPER User Guide v 4.30

"0.> (or&ing %i # 3ends in #e 0i1er

'nabling the 3#o% sends %#en si=e per'i s option from the i+er menu will cause your e+isting sends to be displayed, each with a small rotary fader to enable you to ad=ust the send volume level directly from the mi+er panel. &ight clicking over an e+isting send causes a menu to be displayed with the options shown here. &ight clicking over an empty part of a track7s sends area will produce a menu with only one command D 3#o% rac& rou ing %indo%. This can also be displayed by left clicking anywhere on the track7s empty sends area. 3#o% send para'e ers $pens a small window with parameters ?volume, pan, etc.B for that send. 0u e send Toggles the send7s mute status. Re'ove send Deletes the send altogether. 3#o% rac& rou ing %indo% $pens the track7s routing ?)$B window. Go o send des ina ion rac& Aelects the send7s destination track. (s well as this menu, you have a number of other techniEues at your disposal for creating, editing and managing your sends. Iou can drag and drop from the )$ button of one track to another ?as in the TCPB to create sends, but using the sends area of a track7s channel strip for this purpose offers you more options. This can be seen in the following table-n order o do #is ... Add a send fro' one rac& o ano #er. : you do #is Drag and drop from one track7s send area or )$ button to the other. )n the latter case, a send control window will be opened. 5 r+ drag and drop from one track7s send area or )$ button to the other. A+ drag and drop from one track7s send area or )$ button to the other. ,se this method to create sends from several source tracks to the same destination track to create a traditional submi+. Aelect all sending tracks. Kold 3#if while dragging and dropping from send area or )$ button of any selected track to receiving track. Aelect all tracks from which you want the sends to come. Kold 3#if while dragging and dropping from the )$ button of the receiving track ?unselectedB to any of the selected tracks. Drag and drop the send to another track. A+ c+ic& on the send. Rig# c+ic& on any send 5 r+ c+ic& on a send or 5+ic& in empty part of sends area or 5+ic& on the )$ button. 5+ic& on the send D allows you to change volume and.or pan, specify send.receive channels, mute etc. 5+ic& and drag on a sendFs control knob. 3#if c+ic& on the send.

Add a send fro' one rac& o ano #er and open con ro+ %indo% for #a send. Add a send fro' one rac& o ano #er and disab+e send fro' firs rac& o #e 'as er.

Add severa+ sends o one rac& in one ac ion Add severa+ receives o a rac& in one ac ion

5opy a send fro' one rac& o ano #er De+e e a send. Disp+ay a con e1 'enu. Open en ire rou ing %indo% for a rac&. Open #e con ro+ %indo% for a send. Raise or +o%er #e send vo+u'e +eve+. *ogg+e a sendNs 'u e s a us on or off.

<ote that in the above table, those actions which use the )$ button can be carried out in both the Track Panel and the i+er Panel.

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"0 E *#e REAPER 0i1er and 0as er

"0.@ 3#o%ing *rac& -cons in #e 0i1er

The option to 3#o% rac& icons in 0i1er ?from the i+er menuB can be enabled to ensure that any track icons that you have allocated will be displayed at the head of the track7s mi+er panel. Track icons are inserted using the 5us o' rac& icons, then 3e rac& icon... commands from the TCP menu. This menu can also be accessed from within the i+er by right>clicking over a track7s name.

"0.A

0anaging #e 0i1er

9o e: The sample layouts used in the illustrations in this section are illustrative only and have been selected for learning purposes. They will not necessarily look e+actly the same as the layouts that you are using. Iou might find yourself faced with conflicting ob=ectives when you want to display track F8 inserts, sends and so on all at once and for all tracks, especially if you have a large number of tracks. $ne option for displaying more tracks is to enable 3#o% 'u+ ip+e ro%s of rac&s %#ere space e1is s. Ahown here is an e+ample of what might happen when you enable this option. The problem has arisen that all the tracks have been sEuee9ed into the window D but now there isn7t enough room to show all the features that we need to see. )n this e+ample, there is not enough room to display all of the track F8 ?observe the down pointing arrows on tracks 1 and 2B. :hen this happens you have two main options. These are either to make manual on>screen ad=ustments to the relative si9e of the different parts of the track panels, or to use a thinner mi+er layout.

0a&ing 'anua+ onEscreen ad6us 'en s. )f, in the e+ample above, you hover your mouse on the boundary between the sends area and the track name for any track, the mouse cursor will change to a double>headed arrow, as shown on the right. Finding the right spot can be a little tricky at first, so be patient. Iou can then either click and drag up or down to drag the boundary up or down for that one track or ?as in this caseB hold 5 r+ while you drag up or down to move the boundary for all tracks. ;y holding 5 r+ and dragging down, we are able to make more room to display the F8 inserts, as shown here. Aee also table below.

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Up and Running: A REAPER User Guide v 4.30

-n order o do #is :. Ad6us re+a ive #eig# of e+e'en s for #e curren rac& on+y. : you do #is 5+ic&$Drag up or down A+ 5+ic&$Drag up or down 5 r+ 5+ic&$Drag up or down

Ad6us re+a ive #eig# of e+e'en s for a++ se+ec ed rac&s. Ad6us re+a ive #eig# of e+e'en s for a++ rac&.

Kere we have ad=usted the boundaries between the different elements ?track controls and F8 insertsB so as to make all of the F8 visible. :e have then made some manual ad=ustments > for e+ample, the O, meter on the master has been made taller again by dragging up its top boundary ?shared in this case with the sends areaB.

Using 'i1er +ayou s. The illustration below ?on the ne+t pageB is an e+ample of the other approach, that of using a different layout. There7ll be more about this in Chapter %%. Kowever, to choose a mi+er layout for your tracks, you can =ust do this%. Aelect the tracks whose layout you wish to change. For all tracks, =ust select one then press 5 r+ A. !. &ight click over any track name then choose 3e rac& +ayou then 0i1er Pane+ then select from the menu. The layouts that you see listed are attached to whichever theme you are using and may not be the same as those shown here. i+er

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"0 E *#e REAPER 0i1er and 0as er

This is an e+ample mi+er layout, which may or may not be available from the theme that you are using. To browse thru, and download, the available &'(P'& themes go to http-..stash.reaper.fm.. Aample screen shots of some of the track and mi+er layouts supplied with the &'(P'& 2 default theme are shown in Chapter %%.

"0."0 *rac& 5on ro+ 0enus

The same functions that are available in the track control panels of your track view are generally also available in the mi+er control panels. These functions are covered in detail in Aection ! of this ,ser Huide. For e+ample &ight clicking over the background area or Track <ame for any track panel in the mi+er produces the track conte+t menu. Tracks can be armed in the i+er for recording. Clicking on a trackFs )$ button displays the trackFs &outing :indow. &ight clicking on this button displays its routing menu. Clicking on a trackFs F8 button displays the F8 chain for that track. &ight clicking on this button displays a conte+t menu. &ight clicking over a trackFs volume or pan fader causes the Oolume Control or Pan Maw window to be displayed. Aimilarly, the &ecord (rm, &ecord onitoring and Aelect &ecord ode buttons serve the same purposes as they do in Track Oiew. Tracks can also be muted or soloed in the i+er view. ;oth buttons use the same mouse modifiers and have the same conte+t menus as they do in the TCP.

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Up and Running: A REAPER User Guide v 4.30

"0."" -n roducing (indo%s 3creen 3e s
:indows screen sets can be used to save and recall complete on>screen layouts of your &'(P'& windows, including (rrange view, i+er view, the <avigator, the &outing.Hrouping matri+, and more. :e7ll e+amine their capabilities in more detail in Chapter %%, along with some e+amples in action. ,sing :indows screen sets to save different combinations of i+er settings can be a useful step towards fully understanding what screen sets are and how they work. They can be a great time saver, because the more you use &'(P'&, the more you will find yourself settling on perhaps three or four different layouts that you prefer for use in different circumstances. This will depend mainly on factors such as 9u'ber of *rac&s- your preferred mi+er layout is likely to be different for a pro=ect with only three or four tracks from what it would be for a pro=ect with perhaps !" or 1" tracks. For larger pro=ects you are more likely to show multiple rows. Pro6ec 3 age: the information that you would like to see in your i+er may vary according, for e+ample, to whether you are at the recording, early mi+ing or final tweaking stage of your pro=ect.

:indows screen sets are globally available in all pro=ects. They are stored in a screensets.ini file in your U(pplication DataU&'(P'& folder. This means that you can use any pro=ect to create a screen set, and then use that same screen set with any other pro=ect. Iou should find the following summary information useful. -n order o do #is :. 5rea e a (indo%s 3creen 3e : you do #is (rrange your :indows, including the i+er and its various options and settings, on screen, e+actly as you want it. )f you want the primary focus to be on the i+er, make sure that it is selected. Choose the Vie% 3creense s$Cayou s command ?5 r+ EB. Aelect the (indo%s tab. Click on any item number to select it, then on 3ave to open the 3ave (indo%s 3creeense window ?see aboveB. Aelect all of the various options, and make sure that Cas focus is on 0i1er. )f necessary, type it in. Click on 3ave. Iou can accept any default shortcut Moad key that is shown ?e.g. F# for windows screen set Y%B or click on Edi s#or cu s to open the (ctions Mist 'ditor and assign your own. The (ctions Mist is e+plained in Chapter %1. 'ither use the keyboard shortcut ?where one e+istsB, or Choose the Vie% 3creense s$Cayou s command ?5 r+ EB. Aelect the (indo%s tab and double>click on the reEuired screen set name.

Coad$Reca++ a (indo%s 3creen 3e

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"0 E *#e REAPER 0i1er and 0as er

"0."! 0i1er Appearance Preferences
&'(P'&7s Preferences window does not have a section specifically labelled where your choices will affect the i+er and its appearance. i+er, but there are several places

$ne of these is the Appearance; *#e'e Edi or page of your Preferences window. This is another topic that will be e+amined more fully in Chapter %%, but as far as the i+er is concerned, you can change the color of any of the elements listed below. Aimply click on the element name in the Theme 'ditor list, choose a new color from the color picker window and click on OI. ,se the 3ave *#e'e... button if you want to save your changes. i+er i+er i+er i+er i+er i+er i+er i+er i+er F8 te+t normal color F8 te+t bypassed color F8 te+t offline color sends te+t normal color sends te+t muted color sends te+t )D) hardware color sends level color F8 knob te+t normal color F8 knob te+t bypassed color i+er F8 knob te+t offline color :hether you want the O, meters to be interlaced. O, meter clip indicator color O, meter top color O, meter middle color O, meter bottom color O, meter interlace.edge color O, meter show )D) activity

,nder Op ions; Preferences, Appearance you will find a couple of options that you can use to customi9e your mi+er appearance by the use of color coding. These are to 3e rac& +abe+ bac&ground o cus o' rac& co+ors and to *in rac& pane+ bac&grounds. (ny colors selected using the conte+t menu 5us o' rac& co+ors command ?see Chapter 2B will be applied to the track panels in your i+er if either or both of these options is enabled. Ahown below is an e+ample of this, with *in rac& pane+ bac&grounds enabled-

$ne final preference setting to note is the 3#o% in 'i1er option under Pro6ec ; *rac&$3end Defau+ s. ;y default, this option is enabled, which means that new tracks as they are added are automatically shown in the i+er. Iou should disable this preference if you wish to change this default behavior. This setting can be over>ridden for individual tracks using the Track anager. This is e+plained in Chapter %%.

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Up and Running: A REAPER User Guide v 4.30

"0."3 3 ereo and Dua+ Panning
The stereo panner and the dual panner are designed to give you more control over how you pan stereo tracks. The default pan law ?stereo balance.mono panB gives you a single pan control which moves the sound between the left and right speakers. Kowever, a stereo track is made up of two channels D left and right. Iou can see these on any stereo wave file that you record or import into any pro=ect. The output of one channel ?the top waveformB is normally routed %""J left, the other ?bottom waveformB %""J right. ,sing the dual panner or the width panner you are able to change this in one of two different ways. The dual panner is easier to understand. 'ach of the two pan controls contains one of the channels. Pan the first of these %""J left and the second %""J right and you will hear the first channel thru the left speaker only and the second thru the right speaker only. &everse these and you will now hear the first channel only thru the right speaker and the second only thru the left channel. Pan both fully left and you will hear both thru the left speaker only. Iou can ad=ust both pan controls independently to place each channel e+actly where you want it. For e+ample, if you set both controls dead center you will hear e+actly the same mi+ of the two channels thru both speakers. The stereo panner is in some respects more subtle. Iou can use the width control to ad=ust the mi+ of the two individual channels of a stereo media item, folder or submi+, and the balance panner to position that overall mi+ further to the left or the right. To help you understand this, let7s work thru a relatively simple demonstration. Disp+aying #e Dua+ Panner or 3 ereo Panner (ny track7s dual or stereo panner can be shown by right>clicking over the pan fader and selecting the reEuired pan mode. Iou are most likely to want to do this for a track which contains stereo media items, or which is a folder, or acts as a bus or submi+. E1a'p+e )n this e+ample we will first create a stereo file in order to help us e+periment with the use of the width panner. :e will then get a little more ambitious and use it on a submi+. This will include rendering the mono media items on two current tracks a single stereo file. The topic of rendering will be covered in detail in Chapter %3. %. !. 1. 2. $pen the file A++ *#roug# #e 9ig# .RPP and save it as A++ *#roug# #e 9ig# (-D*).RPP. ute all tracks e+cept the Huitar ;ody and the ;ou9ouki. Pan the Huitar ;ody %""J left and the ;ou9ouki %""J right. Choose the Render command from the Fi+e menu. ake sure that you set Channels to 3 ereo, and select 0as er 'i1 and En ire pro6ec . Aelect output format P1 and Add i e's o ne% rac&s in pro6ec %#en finis#ed ?as shown belowB. Click on Render " Fi+e. (fter a few seconds, the rendered file will be added as a new track. Hive the track a suitable name. )t should resemble that shown here.

P. N.

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"0 E *#e REAPER 0i1er and 0as er

)n this rendered track, the guitar makes up the audio on one channel, the bou9ouki on the other channel. 3o+o this track and play the song. (d=ust the pan control slowly, first fully left, then fully right, then back to the center. (s you do so, one channel will gradually fade away. Panned full left you will hear only the guitar, full right only the bou9ouki. ove the pan back to the center. %". :ith this track selected in the TCP, right click over the pan control and choose Dua+ Pan option from the pan mode drop down list ?these are e+plained overleafB. %%. Play the song. Alowly move the top pan control to %""J right. Iou will now hear both instruments in the right speaker only. %!. ove the lower pan control to %""JJ left. <ow you will hear the guitar in the right channel only, the bou9ouki in the left channel only D the opposite of what you started with. %1. '+periment moving these faders. :hen finished, move the top pan control to %""J left and the lower pan control to %""J right. Aave the file. %2. <ow change the pan mode for this track to 3 ereo Pan. %P. Play the song. (t first you will hear only the guitar in the left speaker, only the bou9ouki in the right speaker. Alowly move the lower ?widthB panner from %""J right towards the centre ?":B. (s you do so, the two instruments will tend to blend more together. %N. :ith width set at ":, move the top ?panB control fully left. The mi+ will now be heard thru one speaker only. ove it back to the center. Aave the file. 9o% ry #is: %. ,nsolo and mute the stereo track. !. Create a folder called )nstruments =ust after the Oocal track. Aelect Atereo pan mode for this folder. 1. ake the two guitar tracks and the bou9ouki tracks child tracks of this folder. (d=ust the volumes and pan settings of the individual tracks and the folder to get a nice mi+. Pan the different tracks well apart. 2. ,se the width control on the folder. '+periment with using this to bring the instruments closer together or further apart. ,se the pan control to position the overall mi+ further left or right. Iou can still ad=ust pan settings for individual child tracks within the folder as well if you wish. *ip: This techniEue can do wonders when you are mi+ing vocals, including vocal duets and vocal harmonies*

#. 3. Q.

Pan 0odes
;y default, the stereo width is applied before the pan.balance control. To select a different pan mode, right>click over either the pan or width control fader and choose from the drop down list. The three modes areFor a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' %31

Up and Running: A REAPER User Guide v 4.30

3 ereo 2a+ance$0ono Pan- The track is treated as mono, even if it contains stereo media. Aet to center, you hear the same signal eEually thru both speakers. Aet hard right, you hear it in the right speaker only. 3 ereo Pan Mets you control side ?panB and width separately. Aide means that the stereo image is set more to the left or right, and width means how far apart the left and right channel are in the stereo image. :ith side set to center and width set to %""J, you hear the left channel in the left speaker and the right channel in the right speaker. :ith side set to center and width set to "J, you hear both channels eEually in the left and right speakers. :ith side set hard right, you hear both channels eEually in the right speaker, regardless of the width setting. Dua+ Pan: Mets you control both channels separately. The left knob sets the left channel more left or right, the right knob sets the right channel more left or right. :ith left set hard left and right set hard right, you hear the left channel in the left speaker and the right channel in the right speaker. :ith left and right both set to center, you hear both channels eEually in the left and right speakers. :ith left and right both set hard right, you hear both channels eEually in the right speaker.

"0."4 0as er *rac& Op ions and 3e ings

The mi+er aster Track controls has the same functions as when the aster Track when shown in Track Oiew. <ote the $utput button ?above > by default labelled onoB Meft click on the $utput button to toggle between Atereo and ono modes. &ight click on the $utput button to set any one of four available ono modes ?above rightB. Meft click on the F8 button to display the master F8 Chain. &ight click on the F8 button for the (dd F8 conte+t menu. )f the F8 chain for the aster is displayed, then you can use all and any of the F8 management keyboard shortcuts that you can use on your tracks. &ight click over the O, area to display the settings that you can use to control what is displayed in the O, and how it is displayed ?above rightB. This includes the option to display output in multichannel mode ?e.g. when working with surround soundB. Disabling this option will ensure a two channel display.

"0."? 0as er )ard%are Ou pu s

$utput from the master can be directed to one or more of your available hardware outputs. This can be done using the routing matri+. The master routing ?)$B button ?in the i+erB can also be used to set up and manage your hardware output or outputs. &ight click on the )$ button to display a menu of hardware output options. These can be toggled on and off in any permutation that you reEuire. Meft Click on the )$ button to display the master track outputs window. This can be used to control the levels and panning of the signals to the hardware outputs. <otice ?belowB that for each output you can independently control any or all of the followingToggle ute on.off. Toggle phase invert. Aet Oolume level. Aet panning level.

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"0 E *#e REAPER 0i1er and 0as er

"0."B 0as er *rac& 5#anne+s
The topic of routing and channel splitting is one that recurs throughout this user guide. The concept itself starts as a relatively simple one, but from those simple beginnings it can grow into something as comple+ and as complicated as you like. Iou7ll find no shortage of e+amples in Chapter %P. Iou can use channels to send two copies of the same signal to two different places. Iou can then do separate things to each signal before =oining them up again. ;elow is a relatively simple e+ample. The e+ample itself may or may not be something that youFll ever want to do, but thatFs not the point. The point is that it will help you to understand what channel splitting is about and how to do it. MetFs take an e+ample of using multiple channels ?two stereo pairs in factB for our master. :e can use this to feed some effect ?such as reverbB into our signal chain, then send the effect ?and only the effectB out to our headphones ?to enable us to assess itB, while sending the overall final mi+ to our speakers. )n order to work thru this e+ample, you will need a sound card with at least four audio outputs.

E1a'p+e This e+ercise will almost certainly be too comple+ for the novice user, and as such is recommended for the more e+perienced only. $therwise, you might wish to return to it after you have completed Chapter %P .
This diagram shows what we are going to achieve. )t assumes that our audio signal flows from left to right. First we will create the necessary e+tra Channels for the

aster Track.

The audio coming into our aster from the mi+ will be split between Channels %.! and Channels 1.2. The signal that is passed to Channels 1.2 will be fed thru a &everb plug>in then directly out to our headphones. )t will also be passed back into a Compressor plug>in, where it will be mi+ed back into the original incoming signal. The final mi+ will then be fed to the speakers. %. !. $pen the file A++ *#roug# *#e 9ig# .rpp and save it as A++ *#roug# *#e 9ig# 0A3*ER.RPP. Pan the two guitar tracks roughly 2"J left and 2"J right respectively. Pan the ;ou9ouki about %PJ left, the Oo+ around %"J right. Cuickly ad=ust the volume levels for each track to suit, especially to avoid clipping in the aster. Aave the file. Oiew the i+er and enable the options to 3#o% F4 inser s %#en si=e per'i s and 3#o% sends %#en si=e per'i s. ake sure your Apeakers and Keadphones are each connected to different paired sound card outputs. &ight click over the -O button in the aster and make sure that output is directed both to your speakers and to your headphone amp. To create the reEuired channels, left click on the -O button for the 0as er *rac& and set the number of channels to 2 ?as shown, rightB. (ssign the output of channels %.! to your studio speakers and 1.2 to your headphones. Iour settings should appear similar, but of course not identical, to those shown here. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' %3P

1.

2. P.

N.

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Up and Running: A REAPER User Guide v 4.30

3. Play the song. For now, it should be heard over the speakers, but your headphones should still be silent.

Q. )n the aster F8 chain, add the plug>in ReaEO and, for the purpose of this e+ercise, add a ! d; gain on ;and !, a % d; drop on ;and 1, and a %d; gain on ;and 2. %". )n the aster F8 chain, click =ust below the &ea'C and add ReaVerba e. Meave the parameters at their default settings, but ad=ust the outputs from this plug>in so that they are directed left and right respectively to channels 1 and 2 only. The settings for these outputs are illustrated ?rightB. %%. <ow play the song. The playback thru the speakers will include the effects of your ReaEO settings but not ReaVerba e. )n contrast, if you listen thru the headphones, you will hear only the reverb. %!. <ow click again in the master F8 chain and add Rea5o'p after the reverb plug>in. (d=ust the )nput Aettings for this plug>in so that Channels % and 1 are the the left, and channels ! and 2 are the ain )nput for the right, as illustrated below right. %1. <ow play the song. Iou can ad=ust the amount of reverb in the mi+ by ad=usting the vertical (e and Dry faders in the ReaVerba e window. Iou can also ad=ust the *#res#o+d ?vertical fader on the leftB and Ra io settings for Rea5o'p if you wish. %2. Iour speakers will now play the output signal from your aster TrackFs F8 chain, including the reverb mi+ed in. Iour headphones will still play only the direct output of the ReaVerba e plug>in. %P. Aave this file. ain )nput for

"0."> Avoiding 5#anne+ Cea&age

Iou need to be aware when you are using multiple channels for the aster Track that any signal routed along any channels between tracks will also be sent to the aster. For e+ample, you might be using channels 1.2 in one or more of your tracks for some other purpose. )n that case, if you also used channels 1.2 for the purpose outlined in the above e+ample, then the signal on channels 1.2 of your tracks would also be leaked into the signal being fed to your reverb plug>in. This channel leakage can be avoided simply by reserving for the aster a pair or pairs of channels not used elsewhere in the pro=ect D in this e+ample, you might choose to use Channels P.N or Channels %%.%!. Aince you have up to N2 channels available to you, this should not normally present you with any problem.

"0."@ Rese VU 0e er Pea&s

<otice that during playback, your O, meters in both track view and mi+er view will display the peak level recorded for each individual track ?see rightB. To reset the peak reading for any individual track, click your mouse over the area where the peak value is displayed. To reset the peak reading for all tracks, hold the 5 r+ key while you click your mouse over the area where the peak value is displayed in any one track. Iou can also if you wish disable the option under Op ions; Preferences; Appearance; VU 0e ers$Faders to Rese 'e er pea& indica ors on p+ay$see& . )f you do this, the current peak levels will be remembered even when you stop playback. :hen you resume playback, they will be retained as the peak levels until, of course, a louder passage is encountered.

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"" E Pro6ec 0anage'en Fea ures "" Pro6ec 0anage'en Fea ures
""." -n roduc ion
)n this chapter we7ll be looking primarily at some of those features of &'(P'& which you are more likely to want to use when you are managing your pro=ect as a whole rather than =ust focussing on individual tracks or items. These include using the Pro=ect edia.F8 bay, Mocking, modifying a color scheme, using the Track anager, Acreen Aets and more. :e7ll start by looking at how you can change a pro=ect7s start time.

"".!

3e ing #e Pro6ec 3 ar *i'e

:ith many pro=ects you will find that you have a few seconds of recorded silence before the program material ?instruments and vocalsB actually start. This can create two annoying problems Times shown on the timeline and on the big clock do not accurately represent the time within the song. :hen you go to the start of the pro=ect, there are always a few seconds of silence to be played before you reach the start of the song.

)n the e+ample shown above the actual start of the song is at "-"2.QN%. :e want to reset this point to Rero. This is how it is done Place the cursor at the point that you wish to mark as the start of the song > in the e+ample shown this will be "2.N"# into the pro=ect. Press A+ En er to display the Pro6ec 3e ings window. Aelect the tab labelled Pro6ec 3e ings. Click the button labelled 3ub rac cursor posi ion fro' s ar i'e ?see rightB. &'(P'& will automatically enter the correct position into the Pro6ec s ar i'e bo+ for you. Click on OI to close the Pro=ect Aettings interface. To mark this point, press the letter 0 on your keyboard. This creates a marker on your timeline labelled ". )f you need to refresh your understanding of markers, look back thru Chapter 3. The position of the marker is now set to 0:00.000 and you can =ump straight to this point at any time by pressing " on your keyboard ?see rightB. )f you wish, you can double>click on the marker to open up the Edi 'ar&er dialog bo+, where you can give it a name.

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Up and Running: A REAPER User Guide v 4.30

"".3 Coc&ing 0edia - e's

)ndividual items can be locked into position to prevent their settings from being accidentally changed, such as by being moved or deleted, while at the same time leaving you free to manipulate other items as you wish. To make use of this feature, first ensure that both of the item icons Coc&ed and Un+oc&ed are selected ?along with any other item icons that you wish to useB under your Op ions; Preferences; Appearance; 0edia settings ?see rightB. :hether the icons are displayed on top of the media items or in a lane above it ?as in the e+ample belowB will depend on whether you have enabled the option Dra% i e' +abe+s above ra #er #an %i #in #e i e'. Mocking for individual media items is then toggled on and off by clicking on the small padlock item that will be visible at the top left corner of the media item.

The e+ample above shows a track with two media items. The first item has been locked ?notice the closed padlock iconB. )t can now not be deleted or moved, unless its status is set to unlock. Aimilarly, you cannot grab the handle across the top of the media item and drag it down to ad=ust its volume, nor can you add a fade in or fade out, nor can it be slip>edited. Iou can, however, make changes to most of its settings within the )tem Properties dialog bo+ ?pitch, play rate, F8 Chain, and so onB or using the media item conte+t menu. The second item, however, remains unlocked ?notice the open padlock iconB. )t can ?for e+ampleB be moved, or deleted, or have a fade out added. Iou can also open the item for editing, in the )D) editor ? )D) itemsB or your installed e+ternal editor ?audio itemsB. Mocking and unlocking can also be performed with multiple items. To lock a number of items, simply hold the 5 r+ key while you click on each item in turn to build the selection, then click on the padlock for any item included in the selection.

"".4

Coc&ing *rac& 5on ro+s

The toggle command Coc& *rac& 5on ro+s ?from the track control panel right>click conte+t menuB can be used to lock.unlock the controls for any track or selection of tracks. This prevents you from making accidental changes for e+ample to a track7s volume or pan setting. )n the e+ample shown here the controls of track % have been locked. Iou can hover your mouse over the control of a locked track to see its current setting displayed as a tool tip.

,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. %33

"" E Pro6ec 0anage'en Fea ures

"".? Pro6ec Coc& 3e ings

The Mocking feature of &'(P'& can be used to effectively free9e certain aspects of a pro=ect file to prevent something accidentally being changed or deleted. There are two aspects to locking Deciding which pro=ect elements you would like to be locked. 'nabling or disabling the locking feature. The keyboard shortcut C can be used to toggle this on and off.

To display the Mock Aettings window ?shown rightB, press 3#if C or right click over the lock button ?the last itemB on the toolbar. The table below summarises some of the ways in which you are able to make use of this feature. Coc&ing Op ion *i'e 3e+ec ion 5o''en This locks the current time selection so that, for e+ample, if you accidentally click and drag at some other point along the timeline your time selection will remain unchanged. Iou can remove a locked time selection by pressing Esc then selecting ,es when prompted. Mocks currently selected loop points. This option prevents you from making any changes at all to any of your e+isting media items. For e+ample, you cannot mute them, add F8 to them, delete them, move them, slip edit them, or even access the )tem Properties window or right click menu for any of your items. This option allows you to make any other changes you like to your media items e+cept move them left or right. This option allows you to make any other changes you like to your media items e+cept move them up or down. This option disables actions such as slip editing. This option disables such actions as adding or modifying fades or ad=usting the item volume control handle. This option ensures that when locking is enabled you will not be able to make any changes to e+isting envelopes. For e+ample, you will not be able to move or add points, or change shapes. Iou will still be able to add new envelopes for faders and plug>in parameters, but you will not be able to edit these in any way. For more about envelopes see Chapter %N. Mocking regions prevents you from changing ?for e+ample by moving, deleting or renamingB e+isting regions. Kowever, you will be able to create new regions with Mock &egions enabled. Mocking markers prevents you from changing ?for e+ample by moving, deleting or renamingB e+isting markers. Kowever, you will be able to create new markers with Mock arkers enabled. Mocks time signature markers and prevents them from being modified.

Coop poin s - e's Fu++

- e's Fpreven +ef $rig# 'ove'en G - e's Fpreven up$do%n 'ove'en G - e' Edges - e' 5on ro+s Enve+opes

Regions

0ar&ers

*i'e 3igna ure 0ar&ers E1a'p+e

MetFs suppose that we are happy with the way our media items line up, and we donFt want any of them being accidentally nudged or moved to the left or right. Iou might then wish to lock their hori9ontal position. %. !. 1. Press 3#if C to open the Mocking Aettings window. Tick only - e's Fpreven +ef $rig# 'ove'en G. )f Enab+e Coc&ing is not enabled, click on it to turn it on. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' %3Q

Up and Running: A REAPER User Guide v 4.30

2. P. <ow try to drag and drop any of your items to the left or right. They wonFt move. Press the C key D this toggles locking off again.

"".B

5us o'i=ing 5o+ors and Fon s

Chapter %Q of this ,ser Huide covers &'(P'&7s preferences in detail. Kowever, there is one page of settings that is so widely used that it has been promoted to this chapter* That is the &'(P'& *#e'e Edi or, which lets you modify your theme settings. This is displayed by choosing the Appearance; *#e'e Edi or page within your Preferences window ?see rightB. Themes consist primarily of three types of materials- image files, color.font definitions and :indows settings. The image files provide, for e+ample, the track control items and media item icons ?pan and volume faders, mute and solo controls, etc.B. The definitions apply to items such as the font used for track names and the colors used for media items, track and mi+er panels, edit and play cursors, markers, O, meters, envelopes, and so on. )f you are not sure what any of the listed items are, you can use the *#e'e e+e'en finder button to identify them ?see belowB. :indows settings are those items whose appearance is by default determined by your :indows color scheme and appearance settings ?such as :indows list te+t and backgroundB. Iou can tell &'(P'& to over ride these. )n addition to those installed with &'(P'&, many themes are available for download from stash.reaper.fm. To install a downloaded .&eaThemeRip file, drag and drop it from :indows '+plorer into &'(P'&7s (rrange Oiew ?main viewB. The Coad *#e'e : button can be used to select any available theme. Acroll thru the *#e'e co+or$fon con ro+s list to see all of the items which you can change. Click on any item to open ?as appropriateB the color picker or font dialog bo+, where you can change its definition. Iou can also 4mi+ and match5 > that is, use the basic color and font definition set from one theme with the image files of another theme. To do this, use the Defau+ i'age resources drop down list to select the theme whose images you wish to use, unselect the option A++o% #e'es o override and click on App+y. Finally, having chosen your fonts and colors and selected your favorite images, you can save them all together into a new theme by clicking the 3ave #e'e... button and giving your theme a name.

,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. %Q"

"" E Pro6ec 0anage'en Fea ures

"".> *#e Pro6ec 0edia$F4 2ay

Overvie% The Pro6ec 0edia$F4 2ay is a one stop center which you can use for managing and arranging a pro=ect7s F8 and media items. )t is opened from the main menu by the Vie%; Pro6ec 0edia$F4 2ay command. The window contains five tabs ?pagesB. The )tem Hroups ?Chapter NB and Take Comps ?Chapter #B tabs have already been introduced. The other three are 3ource 0edia. This lists the media items that are available for use in, or are already used in, the

pro=ect. 'ach item will occur only once in this list. :here it is used more than once in the pro=ect, this will be indicated by the number in the ,sage column. 0edia - e's. This lists only the items that are actually used in the pro=ect ?i.e., activeB. (n item will appear in this list as many times as it is used in the pro=ect. F4. This lists the F8 plug>ins that are used in the pro=ect.

Iou can drag media files ?e.g., from &'(P'&7s edia '+plorer or from :indows '+plorerB or F8 ?e.g., from the F8 browserB into the Pro=ect ;ay. edia items inserted in this way are added to the 3ource 0edia page. )f the item is then used in the pro=ect, it will be added to the 0edia - e's page. F8 items are added to the F8 bay. Iou can rename items within the Pro=ect ;ay, select all instances of a media file or F8 within the pro=ect, and replace media.F8 in the pro=ect with any other media.F8 from the Pro=ect ;ay. Iou can also mute.solo media items and bypass.unbypass F8. ;oth edia pages and the F8 page include a &etain column. :hen you drag media items or F8 into the pro=ect bay, they are marked with a V in the retain column. This setting means that the entry will remain in the pro=ect bay even if there are no instances of that media item or F8 in the pro=ect. :hen you add media ?by recording or insertingB to the pro=ect, they will appear as entries in the media items and source media bays, with the retain status unset. These entries will be automatically removed from the pro=ect bay if they are removed from the pro=ect itself. )f you want the entries to remain in the pro=ect bay even after being removed from the pro=ect, you should enable retain for those entries in the source media bay. F8 entries in the pro=ect bay include a Prese column. )f you change the value in this column ?from the right>click menuB, all instances of that F8 in the pro=ect with the previous preset selected will be changed to the new preset. )n addition, you can retain an F8 entry with a specific preset, or multiple entries for the same F8 with different presets, in the pro=ect bay. The Pro=ect ;ay includes the buttons Ac ions and Op ions. Clicking on either of these displays a menu. (s an e+ample, the Op ions menu is shown on the right. ost of these commands reEuire little e+planation. 0irror se+ec ion in bay and pro6ec . :hen enabled, this causes an item selected in the pro=ect to also be selected in the bay, and vice versa. Iou can also ensure that &'(P'& will =oo' o a se+ec ed i e' when this option is enabled. Use +as se+ec ed i e' as source for Ydra% a copyT 'ouse ac ion. This enables you to use pencil mode to create copies of the last selected item. 3pace bar previe%s 'edia allows use of the spacebar to play the currently selected media or source media item. Coop 'edia previe% will allow any loop marked in the pro=ect to be applied. Previe% ?source or media itemsB #roug# se+ec ed rac& allows you to play back the item with, for e+ample, any F8 in a particular track7s F8 chain, or any track envelopes, being applied. The Fi+ er can be set to use name, path or comment. ake sure the option 5+ear bay %#en c#anging pro6ec s is enabled if you wish to make each Pro=ect ;ay pro=ect specific. Disable it if you want to carry over items in the current bay to the ne+t pro=ect that you open or create. Iou also have the option to Au o'a ica++y re ain 'edia i e's %#en #ey are re'oved fro' pro6ec . This ensures that retain status is automatically assigned when an item is removed from the pro=ect. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' %Q%

Up and Running: A REAPER User Guide v 4.30

The Doc& pro6ec bay and 5+ose %indo% commands are self>e+planatory. The commands on the Ac ions are shown right. They can be used with and applied to the items ?media or F8B on whichever bay page is currently selected. 9e% pro6ec bay %indo% opens a new pro=ect bay window. Iou can then use this ?for e+ampleB to load a different saved pro=ect bay, whilst keeping the original bay open in the original window. 5rea e ne% fo+der. )ndividual pro=ect bay entries can be dragged and dropped in or out of the folder ?see e+ample below, where two folders have been created, ;ells and AtringsB. Folders can be used for source media items ?as shown belowB, edia )tems ?in pro=ectB or F8. Double click left of the folder name to collapse or e+pand the folder. Force refres# forces a refresh of the pro=ect bay display. 3e+ec a++ i e's causes all items in the current tab to be selected. Re ain a++ i e's causes all items in the current tab to be marked to be retained in the bay even when they are deleted from the pro=ect. Re'ove a++ i e's fro' pro6ec will remove all items from the pro=ect, and Re'ove a++ i e's #a are no used in pro6ec will remove from the media bay all items that are not used in the pro=ect.

The 0edia E1p+orer button ?lower leftB can be used to open the edia '+plorer, from where media items can be dragged and dropped into the pro=ect bay ?as source mediaB or into the pro=ect itself. The rotary Vo+u'e control can be used to control the volume of any item being previewed when the option to preview thru selected track has been disabled. The 2ay button ?bottom leftB serves three basic functions. Iou can use it to create a new pro=ect bay, to replace the contents of the current bay with a previously saved one, or to merge the contents of a previously saved pro=ect bay into the current one. *#e 3ource 0edia 2ay and #e 0edia - e's 2ay
The techniEues for working with media items in both of these bays are very similar. The main differences are )tems dragged into the ;ay are placed in the Aource edia ;ay only, until such time as they are actually added to the pro=ect. They are then automatically also listed in the edia )tems bay. $nly items which are active ?and therefore included in the pro=ectB are shown in the edia )tems ;ay. (ctive items can be managed from either of these bays. (vailable items can only be managed from the Aource edia bay. ,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. %Q!

"" E Pro6ec 0anage'en Fea ures

-n order o do #is : 5#ange #e co+u'n order )ide$3#o% co+u'ns Add an i e' o 3ource 0edia 2ay *o previe% an i e' *o add an i e' fro' 3ource 0edia 2ay o a pro6ec *o re'ove an i e' fro' %i #in #e pro6ec . *o re'ove an inac ive i e' fro' 3ource 0edia 2ay *o re'ove a++ unused i e's fro' #e 0edia bay *o re'ove #e re ain s a us of an ac ive i e' *o re'ove a++ ins ances of an i e' fro' pro6ec *o reassign re ain s a us o an ac ive i e' *o +oca e a 0edia - e's 2ay i e' or 3ource 0edia 2ay i e' in #e pro6ec *o 'u e an i e' in pro6ec *o rena'e any 'edia i e' *o add co''en o an i e' : you do #is Click and drag column header left or right. Iou can do this with any of the five Pro=ect ;ay tabs selected. &ight click on any header, deselect.select from list. Drag and drop from :indows '+plorer or &'(P'&7s 0edia E1p+orer. Iou can drag an entire item or ?if using edia '+plorerB a time selection. Aelect the item then press 3pace. Drag and drop from the ;ay into the pro=ect arrange view window. )ts status will change from (vailable to (ctive. Aelect the item and use the De+e e key, either from the arrange view window or within the edia ;ay. Aelect item and press the De+e e key, or right>click in item row in &etain column ?to left of item nameB, then choose Re'ove fro' bay. &ight click on title bar, choose Re'ove a++ i e's #a are no used in pro6ec from the conte+t menu. Aelect item in bay, right click in &etain column, choose Re'ove fro' bay if re'oved fro' pro6ec . &ight>click item in &etain column for the item, choose Re'ove fro' pro6ec . Aelect item in ;ay, right click in &etain column, choose Re ain from menu. Click on the item in the list then on the Usage button. Click on any item in that list in order to go to and select that item. &ight>click on item, choose 0u e from the conte+t menu ?to toggleB. Aelect the item in the ;ay and click on the Rena'e button or use the conte+t menu. Double click in the comments column of the item row. Type a te+t string in the Fi+ er bo+ ?e.g. vo+ to see only media items with vo+ in their nameB then click on the Refres# button. Click on 5+ear Fi+ er button. Aelect item name from list in the Aource edia bay. &ight>click and choose command Rep+ace in pro6ec . Then select from flyout menu A++ ins ances or any single instance- choose the replacement item. Aelect the items, then click on the 3ave button and choose one of the available options. Iou can 3ave se+ec ed i e's o a ne% pro6ec bay, or 3ave a++ i e's as a ne% pro6ec bay . For either of these, you will be prompted for a new .&ea;ay file name. Iou also have the option to 3ave and 'erge se+ec ed i e's o an e+isting pro=ect bay file, in which case you will need to select the reEuired file from the list. Click on the 2ay button, then choose a .&ea;ay file from those listed. Iou have the option to 'erge the loaded bay with the current one, or to load it in place of the current one. Click on any column header to sort by that header. Click again to reverse sort order.

*o fi+ er #e 'edia i e' +is *o c+ear a fi+ er *o rep+ace an i e' ac ive in #e pro6ec %i # ano #er i e' *o save an i e' se +is fro' #e 2ay Ffor possib+e use in o #er pro6ec sG

*o +oad a previous+y saved i e' se +is . *o sor i e's #e +is of 'edia

For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' %Q1

Up and Running: A REAPER User Guide v 4.30

*#e F4 2ay
;asic F8 ;ay management commands are the same as those used by the edia ;ay D e.g., setting retain status on.off, applying and clearing filters, creating and using folders, and removing items from the media and F8 bays are handled in e+actly the same way. The e+ample here shows two folders being used to organi9e the F8.

This table mostly emphasises those aspects more specific to the F8 ;ay itself. -n order o do #is : Open #e F4 bro%ser %indo% Add F4 o #e F4 2ay Add F4 fro' F4 2ay o rac& or 'edia i e' Coca e and open F4 %indo% for any F4 ins ance : you do #is Click on the F4 2ro%ser button. Drag and drop from F8 ;rowser. Drag and drop from F8 ;ay to track in TCP or item. &ight click over the track name or number in the Track column then click on the reEuired instance. The Usage button can also be used for this. *ogg+e bypass for any F4 Assign a prese o an F4 ?see note below tableB 5#ange #e prese assigned o an F4 ins ance. Rep+ace one F4 %i # ano #er pro6ec bay F4 Aelect the F8 then use the 2ypass button, or right>click over F8 name and choose 2ypass from menu. &epeat this to re>enable the plug>in. &ight>click in the Preset column for the F8 and select from the menu. &ight>click in the Preset column for the F8 and select from the menu. &ight>click on F8 name, choose Rep+ace in pro6ec then select from the flyout menu of F8. Iou can replace all instances or a single instance. CP, or to the media

9o e: Aome F8 names may occur more than once in the list. )n the e+ample above, &ea'C appears twice. This happens when there is more than one instance of an F8 in a pro=ect and one or more of these instances have been assigned a preset. This enables you to treat manage these separately. )n the above e+ample, the plug>in ReaEO occurs in the pro=ect in several places. The preset s oc& Q basic "" band has been applied on two of those instances. Kence these are listed separately in the F8 bay.

,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. %Q2

"" E Pro6ec 0anage'en Fea ures

"".@ *#e *rac& 0anager

The *rac& 0anager ?Vie%; *rac& 0anagerB gives you overview control of your tracks. )t displays a grid similar to a spreadsheet or table. )f the grid is empty, click on the 3#o% A++ button ?above rightB to display a list of the pro=ect7s tracks. Click on the Op ions button or right>click on the title bar to display a menu which includes 0irror rac& se+ec ion. This allows any track selection made in either the Track anager or the TCP to be automatically applied in the other. Iou can also ensure that when this is enabled, selecting a track in the Track anager will 3cro++ o se+ec ed rac& in TCP and mi+er. )f your pro=ect includes folders with child tracks, then that hierarchy is retained within the track manager7s track list. The option to -nden rac&s in fo+ders can be disabled from the Op ions menu. The other Op ions button menu items are e+plained in their conte+t in the table below. The table also summarises what you are able to do within the track manager window. *o do #is : 5#ange co+u'n order )ide$3#o% co+u'ns Ad6us co+u'n %id # Fi+ er #e rac& +is by na'e : you do #is Click and drag column header left or right. &ight click on any header, deselect.select from list. Click and drag left or right on boundaries between column headers, Type te+t in filter bo+- e.g.5 vo5 to list in Track anager only those tracks whose name includes vo. Aupports use of <$T and $& filters- e.g. 4bass $& guit5 will find all tracks with either bass or guit as part of their track name. ,se the appropriate Op ions menu commands to also )ide fi+ eredEou rac&s in *5P and.or )ide fi+ eredEou rac&s in 'i1er. The 5+ear button removes the filter. There is also an option on this menu to Fi+ er ou c#i+d rac&s on+y if fo+der paren is fi+ eredEou . )f you enable the option 5+ose rac& 'anager on en er &ey in fi+ er bo1 from the Op ions menu, then pressing 'nter in the filter bo+ will automatically close the Track anager. Drag and drop tracks up or down. This can be disabled by disabling A++o% reordering rac&s via rac& 'anager from the conte+t menu.

5#ange *5P rac& order in rac& 'anager

For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' %QP

Up and Running: A REAPER User Guide v 4.30

*o do #is : De+e e rac& 3#o%$#ide 0as er 3#o%$#ide rac&s in *5P$05P 3cro++ rac& in o vie% 3e $c#ange rac& co+or Open$s#o% rac& F4 c#ain Add F4 o rac& or open an F4 %indo% Open$s#o% rac& -npu F4 c#ain 0oni or p+ugEin de+ay co'pensa ion Ar'$unar' rac&s for recording 0u e$un'u e rac&s : you do #is Aelect track row and press De+e e. Iou will be prompted to confirm this. Toggle 3#o% 'as er rac& in rac& 'anager in Op ions button menu. Click in track row in TCP. CP columns. Iou can use the toggle option ?on the Op ions buttonB to Cin& *5P$0i1er visibi+i y to synchroni9e track display. Aupports 43%ipe5 ?see last row of tableB. Double>click on track number in Z column. Click on colored icon to left of track number. The F4 column shows the number of F8 in each track7s F8 chain. Double> click on that cell to open the F8 chain for that track. &ight click over the track7s F4 ce++ and use conte+t menu. The -9EF4 column shows the number of F8 in each track7s )nput F8 chain. Double>click on that cell to open the input F8 chain for that track. (ny plug>in delay compensation used by a track7s F8 will be indicated ?in msB in the track7s PD5 cell. Clicking on this cell toggles track F8 bypass. Click in the R column for any track?sB to arm for recording. The letter & will be shown for armed tracks. Click again to unarm. Aupports 4 3%ipe5 ?belowB. &ight click on any cell in this column to display record menu for that track. Click in the 0 column to toggle mute status. (ll the modifier keys used in the TCP can be used here D e.g. Ctrl ute to unmute all. &ight>click for TCP mute conte+t menu D see Chapter 2.!. (lso supports 43%ipe5 ?belowB. Click in the 3 column to toggle solo status. (ll the modifier keys used in the TCP can be used here D e.g. Ctrl (lt Aolo to solo e+clusive. &ight>click for TCP solo conte+t menu D see Chapter 2.!. (lso supports 43%ipe5 ?belowB. Click in the Coc& column to toggle lock status. Mocked tracks display a K sign. Aupports 43%ipe5 ?see last row of tableB. Double>click in a track7s )D) cell to open track )D) items in )D) 'ditor. on

3o+o$unso+o rac&s

Coc&$un+oc& rac& con ro+s Edi 0-D- i e's Free - e' Posi ioning on$off ogg+e Free=e$unfree=e rac&s 3or *rac& 0anager +is 3%ipe o ogg+e severa+ ad6acen rac&s 0anage rac& groups

Click in the F-P0 column to toggle on.off Free )tem Positioning. F)P shows a K sign. Aupports 43%ipe5 ?see last row of ab+eG.

Aelect track?sB in Track anager window, then choose whichever action you wish from the Free=e button menu. Aee also Chapter P. Click on any column header. Click again to reverse sort order. For e+ample, to arm several ad=acent tracks for recording, or to mute several ad=acent tracks, or to enable free item positioning on a series of ad=acent tracks. Click and drag.sweep down the appropriate column. The track manager will respect grouped track parameters ?Chapter 2.%1B. (s with the grouping matri+, you can use 3#if to temporarily over>ride these.

)n the e+ample shown above this table, the Voca+ and Acous ic Gui ar tracks and folders are the only ones shown in the TCP. (ll tracks are shown in the i+er. The Voca+s folder settings have been locked. ;oth the Vo1 Cead and Vo1 )ar'y tracks are soloed. They are also F)P enabled. The Reverb track uses plug>in delay compensation of P%! ms. Tracks !, 1, P, N, and %% have all been fro9en, track %% twice. *ip: Iou can use the 3creense s window to save different sets of Track anager settings as Track Oiews, any of which can be recalled in an instant. Acreen sets are e+plained later in this chapter.

,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. %QN

"" E Pro6ec 0anage'en Fea ures

"".A *rac& Vie% 3creen 3e s

Acreen Aets enable you to save several different views of your pro=ect, so that you can easily select and recall them when editing or arranging. There are two types of Acreen Aet D Track Oiews and :indows. *rac& Vie%s are created and saved on a per pro=ect basis D the screen set data is stored in the pro=ect7s .&PP file and can be recalled only when you are working with that pro=ect file. ,sing track view screen sets can be especially useful when you are editing or in some other way working closely with media items. (indo%s screen sets are global and are stored in the (pplication Data screensets.ini file. They can be recalled from, and applied to, any pro=ect file. The procedure for creating track views is ,se the Vie%; 3creense s$Cayou s command to show the Acreen Aets window ?the default keyboard shortcut is 5 r+ EB. The Acreen Aets window may be docked ?or undockedB, and ?if undockedB pinned to stay on top. (d=ust your track layouts to suit. Aelect a number from the Track views page of the Acreen Aets window. Click on 3ave and name the set.

Iou can create up to %" track view screen sets per pro=ect file. To recall a view, double click on its name. Iou can also assign keyboard shortcuts to individual screen sets. ;y default, 3#if F4 to 3#if FB are used to save your first three track views, and F4 to FB are assigned to load each of these first three track views. )f you want to modify these, or assign shortcuts to other track views, then you should click on the Edi s#or cu s button in the Acreensets window. This opens the Ac ion Cis Edi or. For instructions on how to use the (ction Mist 'ditor, see Chapter %1. <otice that there is also an option available to Au osave %#en s%i c#ing screense s . )f enabled, this ensures when switching from one screen set to another that any changes made to the layout of the first of these screen sets will be saved. The Edi fie+ds... button can be used to 4tweak5 this, so that only certain aspects of your changes are automatically saved.

E1a'p+e
%. $pen the file A++ *#roug# *#e 9ig# .RPP and save it as A++ *#roug# *#e 9ig# *RA5I V-E(3.RPP. (d=ust the track height of your Vo1 track as shown here. )n the Track Oiew page of the Acreen Aets window, click on ", then 3ave to open the 3ave *rac& Vie% window. Type- Vo1 Vie% but do not yet press En er. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' %Q#

!. 1.

2.

Up and Running: A REAPER User Guide v 4.30

P. N. #. 3. Take a look at the five options that are available. :e7ll e+amine these shortly. For this e+ercise, make sure that only *rac& con ro+ pane+ s a us is selected. Click on 3ave. <ow ad=ust the track heights as shown below.

)n the Track views window, click on !.

Q. Click on 3ave to open the 3ave *rac& Vie% window. %". (gain make sure that only *rac& con ro+ pane+ s a us is enabled and type Gui ars Vie%. Press En er. %%. To switch between these track layouts, double>click on their names in the Acreen Aets window. This simple e+ample has introduced you to screen sets and how to use them. ;ecause we selected only the option *rac& con ro+ pane+ s a us the pro=ect track layout was the only information saved with this screen set. <otice the five options that you may choose to include in or e+clude from a track view Track Cursor Position Track Acroll Position Kori9ontal Room Track Control Panel Atatus Track i+er Atatus Met7s then now work thru a further e+ample which use options other than track height.

E1a'p+e
%. Kori9ontally 9oom your pro=ect so that only the first 2P secs is displayed. Position the cursor at the 2N sec mark. )n the track view page of the screensets window, click on 3 then on 3ave. ake sure that $<MI *rac& cursor posi ion and )ori=on a+ =oo' are selected. Type a name for the screenset- Verse ". Click on 3ave.

!. 1. 2. P.

Iou can now at an time use track view screen set 1 to 9oom to Oerse % and position the play cursor there, and either of the other two screens sets to then 9oom vertically to either the vocal or the guitar tracks. To remove any screen set that you do not wish to keep, simply select it and click on the 5+ear button.

*rac& 0i1er 3 a us
<otice that one of the options that you have when saving track view screensets is *rac& 0i1er status. This option can be used to save any *rac& 0anager settings regarding which tracks are and are not displayed in the i+er at any time. Awitching between different track views would then automatically select different selections of tracks to be shown in the i+er. Do not confuse this with the option 0i1er f+ags in (indo%s screen sets, which allows you to select not which tracks but which mi+er elements and options ?F8 inserts, sends, multiple rows, etc.B are applied. 9o e: (s you ad=ust the height and.or width of your track panel, the display area for track controls will become smaller or larger. Aome control will disappear and reappear. (n e+ample is shown here.

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"" E Pro6ec 0anage'en Fea ures

""."0 (indo%s 3creense s
,nlike track view Acreen Aets, :indows Acreen Aets are not pro=ect specific, but can be applied to any pro=ect. They are stored in the (pplication Data folder in a file called screensets.ini. (fter opening the Acreensets.Mayouts view ?5 r+ EB, the procedures for creating :indows screen sets are as follows Decide which windows and views you want displayed, and arrange them on screen as you wish. )n the Acreen Aets window, select the (indo%s page, select a number, then click on 3ave. Type a name, then select as many of the si+ options as you reEuire ?see belowB. Click on 3ave. To recall and open any screen set, simply double>click on its name. To change a screen set, open it, make the changes, then save it. Iou can also use keyboard shortcuts with :indows screensets. ;y default, 3#if F> to 3#if FA are assigned to saving :indows screen sets % to 1, and F> to FA are assigned to loading them. These assignments can be changed in the (ctions Mist 'ditor ?see Chapter %1B. The options that you may choose to include in or e+clude from any screen set are ain :indow Position Tool :indow Positions Docker Aelected Tab i+er Flags Mayouts Mast Focus

Aome of these are self>e+planatory. )n addition, note thatThe oo+ %indo% posi ion option will cause the position of those windows which are defined by :indows as tool items ?such as OAT F8 and the )D) 'ditorB to be saved and recalled with the screen set. For any particular pro=ect, however, this will only be applied if that particular window e+ists in that pro=ect. This option is useful, for e+ample, if you use a set of standard plug>ins in the aster and you want to easily be able to open and close all these F8 windows when working with any pro=ect. 'nabling doc&er se+ec ed ab will ensure that whichever window in the docker is visible when the screen shot is saved will be visible when it is recalled. The 'i1er f+ags option, if enabled, will save your various i+er menu options ?F8 inserts, sends, folders, top level tracks, position of master, etc.B with the screen set. These options are discussed in detail in Chapter %". :e encountered +ayou s in Chapter %", in the conte+t of the i+er. Iou7ll find more information about Mayouts later in this chapter. 'nabling this option will ensure that your layouts are saved with the screen set. The +as focus option can be selected to ensure that a particular view automatically is given focus whenever the Acreen Aet is loaded.

For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' %QQ

Up and Running: A REAPER User Guide v 4.30

""."" Au o 3aving 3creen 3e s
Iou have the option to automatically save changes to your Track Oiews or :indows screen set layouts. To do this, simply ensure that the Au oEsave %#en s%i c#ing screense s option is selected ?see rightB. This can be used to ensure for e+ample, that if you change the selected tab to be displayed in the docker before switching to a different :indows screen set, when you return to the first screen set, &'(P'& will have remembered which docker tab was last selected. )f using auto>save, consider using the Edi fie+ds... button to decide which elements for which you want changes automatically saved ?see rightB. The available options are all items that were included in your options when you created your screen sets.

""."! - e' 3e+ec ion 3e s

;y using item selection sets, you are able to create many different selections of items within a pro=ect file and select all of the items in any set simply by selecting that set name. The procedure is as follows ,se the command Vie%, 3creense s$Cayou s to display the Acreensets window. Aelect the 3e+ec ion se s tab. :ithin your pro=ect, select all of the items to be included in the group. These can be on a single track or across any number of tracks. Aelect a set number, then click on 3ave. Hive the group a name and press En er. (t any time you can now recall that group by double>clicking on its name, or by selecting the name and clicking on Coad. )n the e+ample shown here, two selection sets have been created, one for Oo+ Oerses and one for Oo+ Choruses. Aimply by double>clicking on the reEuired set name, we can select all of the items in either set.

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"" E Pro6ec 0anage'en Fea ures

""."3 *rac&; 0i1er; *ranspor and Enve+ope Cayou s
Mayouts in general, and mi+er layouts in particular, were introduced in Chapter %". Mayouts are created, stored and retrieved with individual themes. ,sing the Cayou s tab of the Acreensets.Mayouts window you can select any theme from the drop down theme list. Mayouts are designed and created using a software tool called :(MT'& ?:indows (rrangement Mogic Template 'ngine for &'(P'&B and are associated with individual themes. (ny layouts associated with your chosen theme will be available to you from the various drop>down lists in this window, such as track panel layouts and mi+er panel layouts. For earlier themes that do not include any layouts, a number of standard layouts are available. Ahown right is an e+ample, in this case double>clicking to display the i+er Panel drop down list and to select a mi+er layout. This is an e+ample only D the e+act range of choices available to you may not be e+actly the same as shown here. <ote that when one of these drop down lists is displayed. Iou can hover your mouse over any item to see how it looks, in this e+ample in the mi+er. Kere is a summary list of the main layout elements availableG+oba+ Cayou *ranspor Enve+ope Pane+ 0as er 0i1er Pane+ 0i1er Pane+ 0as er *rac& Pane+ *rac& Pane+ 3e+ec ed rac& pane+ 3e+ec ed rac& 'i1er pane+ Aelects theme defaults for all layout elements. Aelects a layout for the Transport bar. Aelects a layout for track envelope panels. Aee chapter %N. Aelects a layout for the aster in the i+er panel. Aelects a layout for all tracks and folders in the i+er panel. Aelects a layout for the aster in the Track control panel. Aelects a layout for all tracks and folders in the Track Control panel. Aelects a layout for selected tracks in the Track Control panel. Aelects a layout for selected tracks in the i+er panel.

Ahown here is an e+ample of one possible track layout that you might choose. <otice that this particular layout uses vertical O, meters. <ote that you do not need to open the Mayouts window to select layouts for a pro=ect. Iou can also use the Op ions; Cayou s command from the main menu or the 3e rac& +ayou command from the TCP conte+t menu.

For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' !"%

Up and Running: A REAPER User Guide v 4.30

Assigning Ac ions o Cayou s
:ithin the Mayouts screen you can assign up to !" actions to Euickly recall any layout. These can be assigned to shortcut keys and.or to custom toolbars. )n the e+ample shown here, (ction Y% has been assigned to select a Track Panel layout called Tracking and (ction Y! is being assigned to select a different Track Panel called Oertical ?vertical metersB. Iou could then click on the Edi s#or cu s button and assign shortcuts to the two actions Cayou : app+y cus o' +ayou Z0" and Cayou : app+y cus o' +ayou Z0!. Iou could also use the 5us o'i=e oo+bar editor to create icons for these actions on one of your toolbars. Aee Chapter %1 for information on both how to assign keyboard shortcuts and how to create custom toolbars.

Defau+ *#e'e Cayou s

The drop down lists in the various Mayouts categories include many options that you can e+plore. These include *rac& Pane+ specialist layouts for recording and tracking, and layouts with vertical meters. 0i1er Pane+ layouts include narrow channel strips and wider strips with a sidebar to display F8 chains, sends, etc. ?see e+ample rightB.

""."4 Fur #er Pro6ec F4 0anage'en

:hile looking at pro=ect management features, it7s worth taking an overview of some of the options tucked away behind the Para' button in &'(P'&7s F8 plug>in windows. )n chapters %N and %# you7ll see how this can also be used to create automation envelopes and for parameter modulation. eanwhile ... )f you touch any F8 control ?such as a faderB with your mouse and then click on the Para' button you will see a menu similar to that shown here. )n summary, these options are3#o% in rac& con ro+s. (dds a rotary fader to TCP and ?optionallyB CP for ad=usting that parameter7s value. Aee Chapter %" and below. 3#o% rac& enve+ope. (dds an envelope for automating that parameter D see Chapter %N. Para'e er 'odu+a ion. 'nables parameter modulation for this item D see Chapter %#. Cearn. (llows you to assign this parameter to an e+ternal control device, such as a fader or button on a control surface D see below. A+ias para'e er. (llows you to assign your own name to this one instance of this parameter. This name will be used, for e+ample, on any track control or envelope that you create for this parameter. F4 para'e er +is . This causes a flyout menu of a list of all parameter controls for this F8 to be shown. ,sing this menu is another method of assigning ?or unassigningB any of these options to any parameter, rather than touching it with your mouse D see right. ,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. !"!

"" E Pro6ec 0anage'en Fea ures

*#e Cearn Op ion
Met7s take a closer look at the Cearn option. :hen you touch the control in the F8 window with your mouse and then click on Cearn the Mearn window is displayed ?see belowB. Twiddling the control ?such as fader or rotaryB on your control surface device will cause information to be displayed in the 5o''and window about the channel and CC assignment for this control. This information is picked up from the control surface. Choice of CC mode ?absolute or relativeB will depend on the parameter being assigned and your own control device. )n many cases, absolute mode with soft takeover will be appropriate, but you may need to e+periment. The option to Enab+e on+y %#en effec configura ion is focused is especially powerful D it means that this control surface assignment will only be used when that particular plug>in has focus. This enables you to assign the same control surface fader to any number of different functions with different plug>ins. For e+ample, the same fader used to control 'C gain in one plug>in could also be used to control the threshold setting on a compressor. :hen one or more parameters in a plug>in has been assigned to a control surface, you will see an e+tra command on the Para' menu D Defau+ con ro++er 'appings. This leads to a flyout menu ?rightB. Iou can use this menu to save these settings as the default for this plug> in, so that these controls will be automatically made available whenever that plug>in is loaded into other tracks. $ther options on this menu ?where a default has previously been savedB are to 5+ear defau+ or Use defau+ .

3#o% in rac& con ro+s

:hen track controls are shown in the TCP and CP, they are not only controls for individual parameters. They also serve as a gateway to managing your console. To display these in the i+er, you must enable the option 3#o% F4 para'e ers %#en si=e per'i s from the i+er menu. &ight click over any of the controls in the TCP or CP for menu ?see rightB. This menu includesRe'ove fro' +is . This removes the control from the TCP and CP. Cearn; 0odu+a e; Enve+ope and A+ias. These four options are the same as on the Para' button menu in the F8 window. For e+ample, from here you can add control surface support to any of your custom track controls by choosing Cearn. P+ugEin 0enu ?shown in the e+ample below are &ea'C and &eaDelayB. This lists the plug>ins in the track7s F8 chain, together with a flyout menu of all their parameters. Iou can use this menu to add controls for any of these parameters- the menu includes the option A++ para'e ers.)n the CP, when the option 3#o% F4 para'e ers %#en si=e per'i s is enabled, you can right>click in this area for any track to add controls to that track. (n e+ample is shown right. The actual menu that is displayed will, of course, depend on which F8 are included in the track7s F8 chain. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' !"1

Up and Running: A REAPER User Guide v 4.30

*rac& *e'p+a es
;ack in Chapter 1 when you were introduced to recording, we mentioned track templates and how useful they can be. <ow that you have discovered a lot more about &'(P'&, it7s worth revisiting this topic. (rguably, track templates more than any other single feature of &'(P'& can be your best friend when you are setting up your pro=ects. ( track template can be made up of any track or any selection of tracks. For e+ample, you might have a folder called Drums. This might contain a series of child tracks D @ick, Anare, Toms, Ki hat, etc. D all of which have their own track F8 with their own settings, and with volume and pan faders set at their own levels. Iou could save the entire folder ?parentB with its child tracks and all their settings into a single track template called Drum @it. )tems that get included in track templates include track name, track control settings, track properties ?color, icon, etc.B, track F8 ?together with their parameter settingsB, track controls, F8 alias names and F8 parameter alias names, parameter modulation, F8 parameters, sends and receives, and more. To save a track ?or selection of tracksB as a track template, choose 3ave rac&s as rac& e'p+a e from the TCP conte+t menu. To insert tracks from a track template into a pro=ect, choose -nser rac& fro' e'p+a e from the same menu.

""."? *rac& 5on ro+ Pane+ and 0enu 2ar )e+p

( selection of useful information can be displayed below the control panel and at the end of the main menu bar. &ight click =ust below the track control panel and select from these options3e+ec ed rac&$i e'$enve+ope de ai+s 5PU$RA0 usage; *i'e since +as save *rac&$i e' coun REAPER ips 9o infor'a ion disp+ay 3#o% 'ouse edi ing #e+p The first five of these options are mutually e+clusive- that is you can select only one of them. )n the case of the menu bar ?right hand endB, you can select as many or as few of the following options3#o% free dis& space 3#o% recording pa # 3#o% recording vo+u'e na'e 3#o% recording for'a 3#o% audio device infor'a ion This menu also gives you access to the Audio; Device page of your preferences and the 0edia 3e ings page of your pro=ect settings.

""."B Using 0u+ ip+e Doc&ers

)n Chapter ! you were introduced to working with &'(P'&7s docker as an aid to navigating your way thru &'(P'&7s various views and windows. )n fact you are not restricted to =ust one docker- you can create up to %N dockers if you wish. )n the e+ample shown here, we have two dockers attached to the bottom of the main window and a floating docker. The first docker ?bottom leftB contains tabs for displaying the &outing matri+, the ,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. !"2

"" E Pro6ec 0anage'en Fea ures

i+er, and the edia '+plorer. The second is used to display at any time the Acreensets window, the Track anager or the ,ndo Kistory. The floating window is a third docker, and this contains tabs for displaying the F8 chains for four of the tracks in the current pro=ect. This is, of course, only an e+ample.

These instructions assume that you are already familiar with the basic techniEues for docking and undocking windows, and so on, as e+plained in Chapter !. Iou can attach any docker to the main window in any of the four positions. Iou can also choose the same position for more than one docker ?for e+ample, you might wish to attach two dockers to the rightB. *o do #is : Doc& a %indo% 5rea e a ne% doc&er 0ove a %indo% fro' one doc&er o ano #er Reorder abs in any doc&er 5+ose a doc&ed ab ,ou need o do #is ... &ight>click on the window7s title bar and choose the command Doc& : in Doc&er. Drag and drop any tab from an e+isting docker into the arrange view area. Drag and drop the tab from its present docker to its new one. Drag and drop tabs left or right. A+ 5+ic& on tab, or click on tab 1 button.

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Up and Running: A REAPER User Guide v 4.30

*o do #is : A ac# a doc&er o #e 'ain %indo% ,ou need o do #is ... Click on the . to display the menu, then choose (ttach docker to main window, then select a position ?bottom, left, top or rightB. ore than one docker can be attached to any of these positions. Click and drag on the boundary between two dockers docked in the same position to ad=ust the position of the boundary between them ?and therefore the relative si9e of the two dockers. ,se this menu also to change the position of a docker, e.g. from top to left.

""."> 0u+ ip+e Pro6ec Fi+e Versions

The Pro6ec page of &'(P'&7s Preferences includes an option to Ieep 'u+ ip+e versions, with or without ?as you wishB their own undo histories. )f enabled, using Fi+e; 3ave pro6ec as... to save a pro=ect ?over writing the previous fileB will cause a new time and date stamped version to be created. $pening the .&PP file will always open the most recently saved version. Kowever, opening the RPPE2AI file will cause a 5#oose version fro' bac&up fi+e dialog to be displayed. This enables you to select which version you would like to load. ,sing multiple pro=ect tabs you are able if you wish to have multiple versions open at the same time.

,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. !"N

"! E 0anipu+a ing and Edi ing 0-D- - e's "! 0anipu+a ing and Edi ing 0-D- - e's
"!." -n roduc ion
&'(P'& has a number of techniEues for manipulating and editing your )D) items. )n brief these are any of the commands on the right>click media item conte+t menu can be used with )D) items as much as they can with audio items D for e+ample you can create and manipulate multiple takes, add )D) F8 to a takeFs F8 chain, cut, copy and move items, and so on. )n addition, there are commands on the right>click item conte+t menu that are specific to )D) items and only )D) items. :eFll get to these soon enough. Iou can open any )D) items or selection of )D) items in &'(P'&Fs )D) 'ditor for detailed editing. Iou can choose either to open a single item, several items together in the same single )D) 'ditor window, or to use a separate window for each item. For Euick )D) editing, you can edit the track in>line. This makes the itemFs content available for editing without needing to open a separate )D) editing window. This is covered near the end of this chapter. ;efore looking at editing, however, we7ll resolve a couple of other issues of importance to )D) users.

"!.!

0oni oring an E1 erna+ 3yn #esi=er

)D) or audio input. Sust do this-

(n e+ternal synthesi9er can be monitored using Ac ivi y 0oni or using 0-D-npu Procedures

)nsert a track and name it. (rm it for recording and turn record monitoring on Aet record mode to Disable ?input monitoring onlyB Aelect )nput- )D), then the device, then the channel?sB $pen the track7s routing ?).$B window, select your )D) Kardware $utput. )nsert a track and name it. (rm it for recording turn record monitoring on Aet record mode to Disable ?input monitoring onlyB Aelect the necessary mono or stereo audio input from the synth7s audio interface.

0oni or using Audio -npu

"!.3

Using *rac& 5on ro+s %i # 0-D-

(s mentioned in Chapter 2, &'(P'&7s track volume and pan controls by default control a track7s audio signals. )f you wish to use these for )D) instead, you can do so. &ight click on the track number in the TCP or CP and choose 0-D- *rac& 5on ro+s then select one of the Cin& rac& vo+u'e$pan o 0-D- options from the menu. Iou can choose all channels or any individual channel. Iou can also use the plug>in Rea5on ro+ 0-D- with any track. This is e+plained in detail in Chapter %2.

"!.4

5on ro++ing 0-D- Da a 3ends

&'(P'&7s sends and receives can be used with audio items, )D) items, or both. Iou have already been introduced to this topic ?Chapter 2B, and it is covered in more depth in Chapter %P. eanwhile, note that the button indicated on the right can be used to ensure that a send7s fader controls are used to control the )D) data. :ith this button enabled, CC messages for Oolume ?%!#, ma+B and Pan ?N2, centerB are sent on the selected channels ?by default, all channelsB. )f there are any )D) items ?even empty onesB on the sending track, they are sent when transport starts or stops, or play position changes. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' !"#

Up and Running: A REAPER User Guide v 4.30

"!.? Accessing #e 0-D- Edi or

The )D) 'ditor needs to be opened from an e+isting item. )f you wish to open it with a 4clean sheet5 then you must first create a new empty )D) item. To do this, select the reEuired track and ?optionallyB make your time selection to define the length of the item. Then choose -nser ; 9e% 0-D- - e' from the main menu. ;y default, )D) items created in this way are loop enabled. Iou can change this for an individual items within its edia )tem Properties dialog bo+, or globally on the Pro6ec ; 0edia - e' Defau+ s page of your Preferences settings. To open the )D) 'ditor with a single )D) item ?either already recorded or created emptyB, you can use either of these methods ,nless you have changed your default mouse modifier preferences, double>click on the )D) item in (rrange view, or Aelect the item and press the default keyboard shortcut 5 r+ A+ E, or &ight>click on the item and choose Open - e's in Edi or, then Open - e's %i # 2ui+ Ein 0-D- Edi or from the conte+t menu.

-'por an 9o e. &'(P'&7s options allow you to change the default behavior when opening an item ?or selection of itemsB in the )D) 'ditor. For e+ample, you might ?or might notB want them opened in an e+isting )D) editor window. These options are e+plained in Chapter %Q, and will also be considered later in this chapter. To open all of the )D) items on the same track together in the same )D) editor window first select and right> click on one of the reEuired items, then choose 2ui+ in 0-D- edi or, then Open a++ rac& 0-D- in ne% edi or from the conte+t menu.

"!.B

*#e 0-D- Edi or (indo%

:hen you open an item in the )D) 'ditor you will see a display similar to that shown below. )t includes*#e 0ain 0enu. :eFll take a detailed look at the main menu, its various commands and actions shortly, but first you need to understand the rest of the interface and how to navigate it. *#e *op *oo+barFbe+o% 0ain 0enuG The various tools shown below on the toolbar represent some of the commands that are available from the )D) 'ditor menu. The first two > 3ave F.'id source on+yG and Rever o F.'id source on+yG > will be shown only if you are working with an imported )D) file and the edia )D) Preference -'por e1is ing 0-D- f+e as .0-D fi+e is enabled. Kover your mouse over any tool for a tooltip. To the right is a Channel drop down list, used to limit display to a selected channel. Iou can customi9e this toolbar to meet your own reEuirements ?see Chapter %1B.
,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. !"3

"! E 0anipu+a ing and Edi ing 0-D- - e's

Fi+ er 2u on Fs#o%n #ere #ird fro' +ef G This opens up the Filter 'vents window which allows you a great deal of fle+ibility in deciding which information you want displayed in the )D) 'ditor. ?see rightB. Ticking the 'nable Filter bo+ ensures that the options are visible. Iou can choose to display all channels, or any combination or permutation of channels. The Filter 'vents window is also useful when you have multiple items and.or multiple tracks open in the same )D) 'ditor window D see later in this chapter. The Even *ype drop down list lets you select any type of event that you want filtered. The default is A++, but you can change this to <otes, Poly (ftertouch, Control Change, Channel (ftertouch, Pitch or Ayse+. eta. 9o e: The Filter 'vents window can be used to select which data channels are displayed in the )D) 'ditor for editing. )f you wish to restrict which channels are actually played back, you can do this in (rrange view by displaying the item7s Aource Properties window ?see Chapter NB. The content of the Para'e er drop down list will be determined by the type of event. For e+ample, if you select <ote, it will show a list of notes, with options to filter on ranges of velocity and.or length. )f you select Program Change it will show a list of program numbers. The items Co% and )ig# can be used with some event types but not others. For e+ample, if the event type is <ote, you can enter two numbers between " and %!# to restrict the range of notes displayed. )f, on the other hand, you choose Program Change, then low and high values have no meaning. <otice also that the filter bo+ has ?near the topB an Enab+e Fi+ er option which can be toggled on and off. To the immediate right of the filter button ?on the toolbarB are the four toggle icons, Ouan i=e ?on.offB, 0ove 55s %i # no es, 3#o% grid and 3nap o grid. The final icon Doc& edi or can be used to dock and undock this window ?in &'(P'&7s dockerB as reEuired. (t the far right of this toolbar is a drop>down c#anne+ fi+ er list. *#e Ru+er )f in &'(P'&7s main window the option to link loop points to time selection is enabled, click and drag along the ruler to define loop and time selection. $therwise, click and drag along the ruler for loop selection or along the boundary between piano roll view and CC lane view to define a time selection. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' !"Q

Up and Running: A REAPER User Guide v 4.30

*#e *ranspor 2ar

This is located at the bottom of the )D) 'ditor window. )t contains the transport buttons and a number of drop down lists. The first si+ buttons perform similar functions to the buttons on &'(P'&7s main transport bar. They can be used to rewind, start, pause playback, stop playback, =ump to end, and to toggle repeat loop mode on and off. The loop area can be defined on the timeline in either the )D) 'ditor or the main pro=ect window. )n addition, you will see a number of drop down lists. From left to right, these are as follows. Grid This is the grid division bo+. )t is used to specify your reEuired grid division unit. <ote that the units is <otes, and that you can select from any of the values listed D %.%!3, %.N2, %.1!, %.%N, %.3, %.2, %.!, %, ! or 2. Grid spacing ype $ptions here are straight, triplet, dotted or swing. )f you choose swing, several other parameters will also be displayed on this bar. These are discussed later in the conte+t of Euanti9ing. 9o es This is used to select the default note length ?e+pressed as a fraction of a noteB that is used when new notes are added. )n the e+ample above, this has been set to be the same as the grid setting. )t can be overwritten using the main menu command Op ions; Dra%ing or 3e+ec ing a 9o e 3e s 9o e Ceng # . 3ca+e and 5#ord 'nabling the snap to scale option allows you to select a scale and a chord from the two drop down lists. Iou can also use the chords button ?here labelled 4 a=or5B to load a &'(P'& .reascale file. 5o+or ,se this drop down list to select whether you wish to use color to display differences in Ve+oci y, 5#anne+, Pi c#, 3ource, *rac& or 0edia - e'. *ip: The Vie%; Piano Ro++ *i'ebase menu includes the options source beats, pro=ect beats and pro=ect time. )D) data is always defined in beat>based terms, but in the time view mode the grid is ad=usted to reflect any tempo changes in the pro=ect. )f there are no tempo changes, the beat and time views will be identical. Iou also have the option to select 3ynced. This synchroni9es the timeline of the pro=ect and )D) item together. )t also ensures that both windows are synchroni9ed during such actions as 9ooming and scrolling. *#e 0ain (indo% The main window by default consists of two panels. The larger ?topB panel displays your )D) notes. )t is where you do your editing. This e+ample shows the default view, which is Piano &oll Oiew. Clicking on any piano key will cause that note to be played. The smaller ?bottomB panel is the CC lane, which can be used to display various types of information. )n the e+ample here, the velocity of each note is shown. *#e 3cro++ 2ars The )D) 'ditor window includes vertical and hori9ontal scroll bars which can be used to navigate and 9oom in and out of the contents of the )D) item?sB. *#e 55 CaneFsG ;y default, Ve+oci y information is shown in the CC lanes. To change this, either Click on the drop down arrow ?rightB to see a menu of items ?including standard )D) control messagesB that you can choose to display in the CC Mane instead of velocity. ( small selection of the available choices are shown on the right, or Click on the small V button ne+t to the drop down list arrow to add e+tra CC lanes. Aelect any item from the drop down list to display in the selected lane. &ight>clicking over the shaded area at the edge of the top border of a CC lane will produce a menu that can be used to hide a CC lane, clear it, change its contents ?Aet laneB, or add an e+tra lane. <ote- Mike the other )D) 'ditor menus and toolbar, the CC lane menu can be customi9ed. Aee Chapter %1 for more information about how to customi9e menus.

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"! E 0anipu+a ing and Edi ing 0-D- - e's

To remove a lane from view, click on the small minus sign that appears to the immediate right of its drop down arrow. Provided the lane height is tall enough, the e+istence of CC messages can also be seen on the )D) item in the main window ?see rightB.

"!.>

5on ro+ 5#ange 0essages

The role of control change messages is to bring about a change in the status of a )D) parameter. )f you are using an actual )D) device, these messages can be used to physically control the foot pedals, volume sliders, modulation wheels, and other knobs and faders found on electronic instruments. :ithin &'(P'&, control change messages can simulate this effect when playing back your )D) data thru a software synthesi9er. Controller data is used for various purposes. The different controller data streams are numbered from " to %!#. Aome of these controller numbers are industry standard. For e+ample, controller # is generally used to control volume and controller %" for panning. ( control change message has two parts. The first is the control change number, which determines which parameter is to be set. The second is the desired value for that parameter. For e+ample, first, you might send a CC Y# message to specify that you want to ad=ust volume. <e+t, you send a value that sets the actual volume level reEuired. ( control change message can act as either an override ?setting the parameter to the e+act value specifiedB, or an offset ?ad=usting the parameter up or down by the amount specifiedB.

032 and C32

A; and MA; stand for ost Aignificant ;yte and Meast Aignificant ;yte respectively. A; control change messages typically act as coarse controls, while MA; messages generally allow fine ad=ustments. Aome control change messages have both A; and MA; versions. ost )D) devices that contain sounds.patches respond to both ;ank Aelect A; and MA; control change messages. Aome of the more commonly used cc parameters are listed below. DonFt worry if you donFt understand them all. Iou should consult your )D) deviceFs documentation for more details.

Para'e er
2an& 3e+ec 032 2an& 3e+ec C32

Descrip ion
any )D) devices offer a total of more than %!3 instruments, in which case these instruments are grouped into banks. Thus, depending on the device, a full program change message might consist of five parts D cc Y" ?;ank AelectB, followed by the Aound ;ank A; value, then cc Y1! ?;ank Aelect MA;B followed by the Aound ;ank MA; value, then finally the Program Change number. Program change numbers are discussed in more detail in the sub sections that follow after this one.

Ve+oci y

The measure of the speed with which a key on a keyboard is pressed. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' !%%

Up and Running: A REAPER User Guide v 4.30

Para'e er
0od (#ee+ 2rea # Por a'en o 2a+ance E1pression 3ound *i'bre 3ound Re+ease 3ound A ac& 3ound 2rig# ness

Descrip ion
This can add vibrato or other changes to a sound. Oaries from " ?no forceB up to %!# ?high forceB. Determines the smoothness of the glide from note to note Typically used to ad=ust the volume of stereo parts without affecting the panning. ,sed to create relative volume changes. The property of a sound that gives it its uniEue 4color5. Determines how long it takes for a sound to fade out. Controls how long it takes for a sound to fade in. This ad=usts a soundFs filter cutoff, allowing you to create filter 4sweeps5.

"!.@

5on ro+ 5#anne+ 2asics

)D) Data Control Channel ?CCB messages can be recorded during live performance, and edited or manually entered using the CC lane in the )D) 'ditor. The CC Mane appears at the bottom of the )D) 'ditor. Data is displayed hori9ontally according to its position on the Timeline, and vertically according to the value of the data. ost CC data has a value of " at the bottom of the CC Mane, and %!# at the top of the CC Mane. The e+ample ?rightB shows Oelocity. '+ceptions to this rule include Pitch, Pan and Pan Position, which are displayed as positive or negative variations from a centre line. The information displayed in the CC Mane is selected from the drop> down list at the left of the window. CC Data is entered or edited by dragging the mouse to the reEuired value. To delete an event, select it, then press De+e e. The ouse odifiers page of &'(P'&7s Preferences includes the ability to customi9e left click.drag and double>click behavior when working with )D) CC events.

"!.A (or&ing %i # 0-D- Edi or Canes

There are a few especially interesting items that you can display in your lane or lanes that are not included in the above table. These are worth a special mention, because they might otherwise slip under your radar. They are Aystem '+clusive messages, Te+t 'vents, and ;ank.Program Aelect.

"!.A."

3yse1 Even s

Aystem e+clusive ?Ayse+B messages consist of )D) data that can only be understood by the particular make and model of the device that created them. For e+ample, all synthesi9ers should respond to CC messages such as Oolume or Pan control, but system e+clusive messages created by a &oland synthesi9er would not be understood by, say, a Iamaha synthesi9er. ,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. !%!

"! E 0anipu+a ing and Edi ing 0-D- - e's

Iou can add a lane which can be used to manage system e+clusive ?Ayse+B messages, as shown above. )n this e+ample, a Ayse+ lane is displayed in addition to a Oelocity lane. Aome )D) hardware, especially older devices, accept syse+ messages as a way to initiali9e or change settings on the device. Ayse+ messages are raw )D) data, represented as a list of he+adecimal bytes. Ayse+ events may be added, edited, moved, or deleted in the same way as te+t events ?see belowB. Double click in the lane to open the Add 3yse1 Even dialog bo+, enter the message and click on OI. Click, hold and drag on any syse+ event to move it. Double click on any e+isting syse+ event to edit it, or right click to delete it.

"!.A.!

*e1 Even s

The *e1 Even s option lets you display a CC Mane which can be used to display te+t in a lane below your )D) notes. These could be, for e+ample, lyrics, or marker information or any of the other available te+t types. Sust double click at any point in the lane to open the Edi *e1 Even dialog bo+, type your te+t, specify its type, and click on OI. (s with system e+clusive events, double click on any e+isting te+t event to edit it, drag it to move it, right click to delete it.

"!.A.3

2an& Progra'$3e+ec

:hen you choose the 2an&$Progra' 3e+ec option for a CC lane, you can double click at any point to open the 2an& Progra' 3e+ec dialog bo+. Kere you can select any bank.program combination, and assign it to any channel. The bank.program combinations available to you will depend on what instruments you are using ?see e+ample, rightB. )f using a synthesi9er which has its own instrument definition files, you can load a file into the )D) 'ditor by clicking on the Coad Fi+e button, then navigating to its directory, then selecting it. (n e+ample of the use of program changes is shown here. To edit any program change message, =ust double click on its CC Mane bar. This will open the ;ank.Program Aelect window for you to make your changes. (lso, click and drag to move a program change message, double>click to edit it. To delete it, simply right click over its CC Mane bar.

"!."0 Using 0-D- 55 Canes: *ips and *ric&s

&'(P'&7s )D) CC lanes include a number of additional features. Kere are some that you might find useful.

"!."0."

Genera+ 55 Cane Edi ing *ec#niJues

any of the CC message types D such as od :heel, ;reath, Portamento, Pan, Oolume etc. D can be e+pressed as a continuous range of values, rather than as discrete items ?in the way that te+t events, for e+ample, areB. For messages of this type there are a number of standard techniEues you can use to enter, edit or delete them. To enter a single message, click and move ?gently pushB the mouse in the appropriate CC lane at the reEuired point. The nearer the top of the lane, the higher the value of the message. To change the value of an e+isting message, click and drag it up or down. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' !%1

Up and Running: A REAPER User Guide v 4.30

To delete a message, right click over it. (lt right click sweep will delete a series of messages.

Iou can also click>hold>drag>sweep to insert a continuous seEuence of messages. The e+ample shown here causes the notes to be panned in increments first to the left, then to the center, then to the right, then back to the center again. The faster you sweep, the greater the interval between individual events.

"!."0.!

Rig# 5+ic& 0arJuee 3e+ec ion

Iou can right>click and drag within any CC lane to make a selection of multiple events. Kaving made your selection, you can work with them in the CC lane, as well as ?if appropriateB in the piano view window. For e+ample, if the CC lane displays Oelocity, then there will be one event shown in the CC lane for each note in the piano view. Aelecting the events in the CC lane will also select the corresponding notes in the piano roll view. Iou could then work with those selected events in the )D) 'ditor or work with them in the CC lane itself. For e+ample you can Delete them. (d=ust their values ?up or downB. &ight click over the CC lane for a conte+t menu ?see rightB. This can be used to nudge or move the selected events. Click and drag to move the selection left or right, control click and drag to copy. The e+act behavior here will be determined by whether the individual CC events are directly linked to individual note events. )n the e+ample shown here, this would be the case with the velocity events but not the pitch change events. Thus, in the former case ?velocityB you would need to move the events in the piano view window itself and the velocity events would move with them. )n the latter case ?pitch changesB, you would move the events in the CC lane itself.

"!."0.3

Resi=ing 55 Cane )eig#

Iou have three options for changing the height of CC lanes. (ll involve clicking on the dotted 4handle5 ?shown hereB on the 4ceiling5 boundary above the CC lane in Euestion. The mouse cursor becomes a vertical double>headed black arrow. Iou can then drag the mouse up or down. :hen you have only one CC lane displayed all three actions do e+actly the same thing. Kowever, when there are two or more CC lanes shown, these three actions will behave differently. 5+ic& and Drag: Aimply click and drag up.down to increase.decrease the portion of the )D) 'ditor window used to show the selected CC lane. )ncreasing this portion will decrease the height of the piano roll window and vice versa. $ther CC lane heights remains unaffected. 3#if 5+ic& and Drag: Ahift click and drag up.down will increase.decrease the height of all CC lanes and compensate by ad=usting the height of the piano roll window accordingly. 5on ro+ 5+ic& and Drag: Control click and drag will ad=ust the height of =ust the one CC lane, leaving other CC lane heights unchanged.

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"! E 0anipu+a ing and Edi ing 0-D- - e's

)n addition, you can double>click on the dotted handle ?also known as 4grippy area5B of any open CC lane to toggle between viewing and minimising it.

"!."0.4

-n e++igen 55 Cane Dropdo%n Cis

The CC Mane dropdown menu uses markers to show which other lanes already e+ist and contain data, whether they are currently displayed or not. )n the e+ample shown here, this applies to Oelocity, Pitch, Program, ;ank.Program Aelect, Te+t 'vents and ;reath.

"!."" (or&ing %i # 0u+ ip+e - e's

:e said earlier that as well as being able to use the arrange view conte+t menu to open individual items in the )D) 'ditor you can also open any selection of )D) items together in one single editing window. To do this you have a number of options. The 2ui+ in 0-D- edi or command ?from the )tem conte+t menuB offers a number of choices. For e+ample, if you wish to open together all of the )D) items on one track then you can right>click over any one of the items and choose 2ui+ Ein 0-D- edi or then Open a++ rac& 0-D- in ne% edi or. )f you wish to open together several items that are on different tracks, then you should select all of the reEuired items ?perhaps by the marEuee methodB before right>clicking on any item in the selection and choosing 2ui+ Ein 0-Dedi or then Open in ne% edi or. There is a detailed description of each of the command options in Chapter %Q, on the page Edi ing Preferences; 0-D- Edi or. Kere you can specify which option you want to be applied when the command 2ui+ Ein 0-D- Edi or, Open in edi or Fse defau+ be#avior in preferencesG is used. <ote also that these commands are available as actions for which you can assign your own shortcuts ?see Chapter %1B. The Fi+ er Even s window is scrollable and may be left open while you work in the )D) 'ditor. )t is also dockable. ,nticking the Enab+e Fi+ er option gives you more room for managing the various items. (ll open tracks are listed together with ?indentedB their respective items. )n the e+ample shown here there are three tracks D guitar, mandolin and ban=o. The first of these tracks comprises three items ?Oerse %, Oerse !, Oerse 1B, the other two tracks one item each. <ote that 'ach track can be muted, soloed or armed for recording by clicking on its appropriate button. &ight click on any colored sEuare to change the color for that item or track. The gray bo+ to the left of the track name can be used as a toggle to show.hide items on that track. ( track or item can be renamed by double>clicking or right>clicking over its name. Double>clicking on an item name also selects that item for editing. (n item is selected and made active for editing by clicking on its colored dot. )n the e+ample shown here, Oerse ! on the Huitar track is currently active. The item button toggles mute statusZ O toggles visibility in the )D) 'ditorZ 8 closes it.

Iou can also use the 5on en s command from the ain enu to select, open and close items ?see rightB. Aelect an item from the menu to open it. Kolding 3#if while selecting an item also closes all other items.

For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' !%P

Up and Running: A REAPER User Guide v 4.30

*ip: The edia )tem left drag conte+t on the mouse modifiers page of your preferences includes the assignable action Open source fi+e in edi or or e1 erna+ app+ica ion. )f you assign this to one of the available modifiers ?e.g. (lt left dragB then you can add any )D) item in your pro=ect to an e+isting )D) 'ditor window by simply using that modifier while dragging the item into the )D) 'ditor window*

"!."! 9aviga ing #e 0-D- Edi or 0ain (indo%

The )D) 'ditorFs menus and action list contain any number of techniEues that you can use for precision navigation- weFll get to these shortly. First, you should familiarise yourself with the tools that you have available for 4broad brush5 navigation. The hori9ontal and vertical scroll bars in the )D) 'ditor window are used for scrolling, and their respective plus and minus buttons can be used for vertical and hori9ontal 9ooming. Iou can also use your mousewheel. This can be customi9ed in the (ctions Mist 'ditor ?see Chapter %1B, but by default the settings are0ouse%#ee+- Kori9ontal Room 5 r+ 0ouse%#ee+: Oertical Room A+ 0ouse%#ee+: Kori9ontal Acroll 5 r+ A+ 0ouse%#ee+: Oertical Acroll The keyboard shortcuts PageUp and PageDo%n can be used to 9oom in.out vertically, and K and Q to 9oom in and out hori9ontally. These too can be changed in the (ctions Mist 'ditor if you wish.

"!."3 Coop$*i'e 3e+ec ions and 3'ar Edi ing

To move the position of the cursor, click on the timeline ?rulerB in the )D) 'ditor window. Moop and time selection within the )D) 'ditor will behave in accordance with whether or not you have enabled the option Coop poin s +in&ed o i'e se+ec ion on &'(P'&7s main menu. These notes assume that you have this disabled. Iou can select an area to be looped, as in the main &'(P'& window, by clicking and dragging along the )D) 'ditor timeline ?see rightB. Iou can also use the timeline in the &'(P'& main window to define and modify loop areas if you wish. ,se the *ogg+e Repea button on the )D) 'ditor Transport ;ar to enable or disable looping. ( time selection can be made by clicking and dragging along the boundary between the piano roll display area and the CC lane. The mouse cursor becomes a hori9ontal double>headed arrow ?see rightB. <otice that the time selection is mirrored in &'(P'&7s (rrange view. This facilitates the use of smart editing ?see Chapter NB. For e+ample, within the docked )D) 'ditor window you could identify and work on the part of a )D) item that you wish to copy or move to another track and then, still in the )D) editor, mark that as a time selection. )n (rrange view, you could then 5 r+ 5+ic& Drag that area to another track ?or elsewhere on the same trackB and create your copy. )f using this feature, you should first decide whether or not you wish to enable Au oEse+ec 55 %#en 'oving$copying %i #in i'e se+ec ion from the Op ions menu.

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"! E 0anipu+a ing and Edi ing 0-D- - e's

"!."4 2asic 9o e 3e+ec ion and 0anipu+a ion
The )D) 'ditorFs menus and action list contain any number of techniEues that you can use for precision editing and manipulation of your notes- weFll get to these shortly. First, you should familiarise yourself with the most basic tools that you have available for Euick and basic editing.

*o do #is :
Add a no e De+e e a no e 3e+ec a no e for edi ing 3e+ec a range of no es Add o an e1is ing se+ec ion 5#ange a no eNs +eng #

,ou need o do #is :

Click and drag in the )D) editing area. Double>click on the note. Click once on the note. &ight click and drag around the selection. Kold A+ and 5 r+ while right clicking and dragging around notes. Kover the mouse over vertical line that marks the start or end of the note, so that the mouse cursor becomes a double headed black arrow. Click and drag left or right , as reEuired. Click and drag note to new position then release.

0ove a no e

"!."? *#e 0-D- Edi or 0enus

This section is an overview of the )D) 'ditor7s main menu commands. :hen docked, the main menu is not displayed, but you can access these commands by right>clicking over the windowFs tab in the docker.

*#e Fi+e 0enu

Rena'e 0-D- a&e ... &enames the )D) )tem. E1por o ne% 0-D- fi+e ... '+ports active )D) track to a file. )D) events are normally stored in the Pro=ect file itself. 5us o'i=e no e na'es Displays a sub>menu. Coad no e na'es fro' fi+e : and 3ave no e na'es o fi+e : ,ou can load names into your )D) item from an e+isting file, or save the note names from your )D) item into a file. Rena'e curren no e. (llows you to rename the currently selected note. (lternately, double right>click on note in piano roll. Iou are then able to enter the name for the selected note on the piano roll ?see e+ample, rightB. ,se *ab to move to ne+t note, 3#if *ab to previous. :hen finished you can save to a file. 5+ear a++ no e na'es. Clears all note names from the currently open )D) item. 5us o'i=e no e co+ors Displays a sub>menu. Coad co+or 'ap fro' fi+e ...$5+ear co+or 'ap Fuse defau+ sG . ,sed to import your own .P<H color map file or restore the &'(P'& defaults. For more information about how to create a color map file, go to foru'.coc&os.co'$s#o% #read.p#pU [>@@3A 5+ose Edi or Closes the &'(P'& *#e Edi 0enu Undo; Redo; 5opy; 5u ; 3e+ec a++ even s; De+e e even These features work as e+pected on all selected )D) notes. <ote that you can cut, copy and paste between )D) 'ditor windows, and into some e+ternal applications. Pas e; Pas e preserving posi ion in 'easure Paste will paste to the current cursor position. :here a selection of notes ?rather than a single noteB has been cut or copied, the entire selection will be pasted starting at the current cursor position. )D) editor, and returns you to the main &'(P'& window.

For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' !%#

Up and Running: A REAPER User Guide v 4.30

Paste preserving position in measure pastes to the ne+t measure after the cursor position, retaining the relative position of the item pasted. -nser no e Aimilar to )nsert <ote at ouse Cursor ?using the ) keyB, but positions new notes at the 'dit Cursor. -nser no e a 'ouse cursor ( very Euick way to insert notes. )nserts new notes ?according to the current Anap valuesB wherever your mouse is hovering. <ote that since this command takes the mouse cursor as its reference position, you should use the -nser key to e+ecute it rather than actually display the menu. 3p+i no es Aplits selected notes ?using the A keyB. )f no notes are currently selected, all notes currently under the 'dit Cursor are split. 3p+i no e under 'ouse cursor Aplits any note currently located under the mouse cursor ?based on snap settingsB. Disabling Anap allows you to make very accurate splits. <ote that since this command takes the current mouse cursor as its reference position, you should use the keyboard shortcut 3#if 3 to e+ecute it. /oin no es Soins selected notes together. 0u e even s utes current note selection. Ouan i=e ... $pens Cuanti9e 'vents dialog bo+. Aee the Cuanti9e section and the )D) Toolbo+ section for more information about this feature. Ouan i=e sub'enu Ouan i=e using +as se ings; Ouan i=e posi ion o grid UnJuan i=e; Free=e Juan i=a ion Aee the Cuanti9e section and the )D) Toolbo+ section for more information about these command. )u'ani=e : $pens the dialog bo+ shown here. Kumani9ing can make the e+act timing of )D) generated music sound less 4clinical5 and more realistic. )t does so by allowing you to introduce random small and subtle imprecisions in timing and velocity. (s well as being found on the Edi menu, this command is also available as an assignable action. *ranspose ... $pens the dialog bo+ shown here, which can be used to transpose all or a selection of )D) notes. Iou can transpose by a specified number of semitones, with a snap to scale option, or from one specified key.scale to another. Re'ove se+ec ed dup+ica e no es &emoves duplicate notes ?i.e. duplicate notes of the same pitch and same starting positionB from selection. 3e no e ends o s ar of ne1 no e (d=usts the end point of all notes in selected range Reverse &everses the order of the )D) events within the item currently being edited.

*#e 9aviga e 0enu

This menu presents a number of options for moving notes in any direction, either by grid or by note-

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"! E 0anipu+a ing and Edi ing 0-D- - e's

0ove cursor +ef by grid 0ove cursor rig# by grid 0ove cursor up one no e 0ove cursor do%n one no e There are also a number of commands that can be used to =ump to and select a note, either instead of or in addition to any current selection3e+ec no e neares cursor Add no e neares cursor o se+ec ion 3e+ec previous no e 3e+ec ne1 no e 3e+ec previous no e %i # sa'e no e va+ue 3e+ec ne1 no e %i # sa'e no e va+ue 3e+ec a++ no es %i # sa'e no e va+ue Add previous no e o se+ec ion Add ne1 no e o se+ec ion 0ove edi cursor o s ar of se+ec ion

*#e Op ions 0enu

Doc& %indo% Positions the midi editor inside the Docker. :hen you do this, the )D) 'ditorFs main menu will not be displayed. The commands on this menu can still be accessed by right>clicking over the windowFs tab in the docker ?see rightB. 3ync edi or ranspor o pro6ec ranspor Aynchroni9es the transport of the )D) 'ditor to &'(P'&7s main Timeline. *i'e for'a for ru+er; ranspor ; even proper ies Hives you the choice of easures.;eats.%""ths or easures.;eats. )D)Lticks. 0u+ ip+e 'edia i e's :hen you have more than one )D) item open in the same )D) 'ditor window, this command can be used to 5+ose a++ inac ive 0-D- 'edia i e's or 5+ose ac ive 0-D- 'edia i e'. Previe% no es on add$edi :ith this option enabled, &'(P'& plays whatever OATi or )D) instrument is assigned to that track thru the F8 bo+ or hardware routing ?providing monitoring is onB. A+%ays snap no es o +ef %#en snap enab+ed :hen enabled, ensures that notes are snapped always to the left. 3nap no e ends o grid %#en snap enab+ed Causes snapping to be applied to the end ?rather than beginningB of notes. Dra%ing or se+ec ing a no e se s #e ne% no e +eng # $ver>rides the default note length set by the drop down <otes bo+ on transport bar. Au oEse+ec 55 %#en 'oving$copying %i #in i'e se+ec ion :hen enabled, ensures CC events are included when a time selection is copied or moved. Au o'a ica++y correc over+apping no es Toggles on and off the automatic correction of overlapping notes. Use F"EF"! as s ep seJuencer :hen enabled, the function keys ?F% > F%!B can be used to enter notes. These keys are mapped to the %! Aemitones of an $ctave, with F% having the lowest pitch and F%! having the highest pitch. The starting pitch for F% is set by the location of the highlight bar. )n the e+ample shown, the starting pitch for F% is CN. )f FP ?for e+ampleB is then pressed, an ' note will be created. ;y moving the highlight bar and the 'dit Cursor, and using the Function keys to enter notes, complete arrangements can be Euickly created. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' !%Q

Up and Running: A REAPER User Guide v 4.30

<ormally this mode will also advance the cursor according to the snap settings. Iou can bypass this and not advance the cursor by holding 3#if while pressing the function key. Use a++ 0-D- inpu s for s ep recording Toggles the use of )D) inputs when step recording. 0-D- edi or 'ouse 'odifiers $pens the mouse modifiers page of your preferences window, where you can specify the actions to be associated with mouse behavior in various conte+ts. This topic is discussed later in this chapter and in Chapter %1. This feature replaces ?and is far more powerful thanB the various mouse click commands that were on the $ptions menu of &'(P'&7s )D) 'ditor versions earlier than 2.". 5us o'i=e 'enus$ oo+bars ... $pens the Customi9e enus.Toolbars window. Aee Chapter %1. *#e Vie% 0enu Fi+ er even s...; Ouan i=e...; )u'ani=e...; *ranspose : $pens one of these dialog bo+es, which have been discussed earlier in this chapter. Even proper ies ... $pens the <ote properties dialog bo+. This topic is covered later in this chapter, along with *#e Rig# E c+ic& 9o es 0enu. 0ode: piano ro++ Displays a standard, white.black piano key view. 0ode: na'ed no es &eplaces the Piano &oll view with note names. <ote- $nly works when using a OATi that reports note names, such as F+pansion7s ;FD. Check the &'(P'& forum to see if a note namer plug>in has been posted for the OATi you want to use. For e+ample there are 'RDrummer note namers available. 0ode: even +is Displays the event list. These three modes are discussed in more detail later. Piano ro++ no es Displays a sub menu of Rec ang+es; *riang+es and Dia'onds to determine how notes are displayed. Iou also have three toggle options to 3#o% ve+oci y #and+es on no es, 3#o% ve+oci y nu'bers on no es and.or 3#o% no e na'es on no es. )n the e+ample shown here, velocity handles and note names are displayed. 5o+or no es by This command selects the criteria used for coloring notes. The options are Ve+oci y, 5#anne+, Pi c#, 3ource Fusing co+or 'apG, *rac& and 0edia i e'. Iou can toggle on.off 3#o% co+or se+ec or in edi or. Iou also have options to Coad co+or 'ap fro' fi+e and 5+ear co+or 'ap Fuse defau+ sG. 3#o%$#ide no e ro%s Displays a sub>menu with three mutually e+clusive commands to determine which rows are shown. 3#o% a++ no e ro%s, )ide unused no e ro%s. or )ide unused and unna'ed no e ro%s. Piano ro++ i'ebase Aets the timebase for the piano roll. $ptions are 3ource bea s ?from media source itemB, Pro6ec bea s, Pro6ec i'e, or Pro6ec synced. For more information, choose *i'ebase #e+p from this menu. *#e 5on en s 0enu 5+ose ac ive 'edia i e' Closes from the )D) 'ditor the currently active window. 5+ose a++ inac ive 'edia i e's Closes from the )D) 'ditor all currently open )D) items e+cept the current active one. 5+ear edi or %#en c#anging ac ive 'edia i e' Fs#if ogg+esG :hen enabled, causes currently displayed )D) item to be cleared from the )D) 'ditor when a different item is selected to be displayed. ,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. !!"

"! E 0anipu+a ing and Edi ing 0-D- - e's

Cis of pro6ec rac&s$0-D- i e's This menu lists all tracks which contain )D) items and all items themselves. ( tick indicates that the item is currently open in this window. Aelect an item from this menu to open it in the )D) 'ditor window- hold Ahift while doing so to also close all other items.

*#e Ac ions 0enu

This has two default commands > 3#o% ac ion +is and 3#o% recen ac ions. 3#o% ac ion +is opens the Ac ions : window with the 0-D- Edi or section automatically selected. Custom actions and keyboard shortcuts play an important role in working within the )D) 'ditor. :hen 3#o% recen ac ions is enabled, the (ctions menu will list your most recent activities, as well as any custom actions or keyboard assignments that you have placed there. These commands can then be e+ecuted from this menu ?see e+ample, rightB. There are some simple e+amples showing you how you can use the (ctions Mist later in this chapter. The Ac ions Cis Edi or and how to use it will be covered in detail in Chapter %1. Finally ?on the sub=ect of menusB remember that &'(P'& makes e+tensive use of right>click conte+t menus. @nowing which commands are on the main menu is useful, but as you will shortly see, more often than not youFll use the right click menus and custom actions more than the main menu.

"!."B 9o e 5rea ing and Edi ing

Overvie%
( )D) )tem can contain data from up to %N channels. The )D) 'ditor can display and edit all %N )D) channels simultaneously, or you can use the Filter 'vents window or Channels drop down list to restrict which channels are displayed. )f you select Channel from the Color drop down list, each channel will be assigned an individual color, visible in both the Piano &oll and the CC lane. The )D) 'ditor uses as its default a Piano &oll interface to display and edit )D) information. <otes are displayed vertically according to their corresponding value on a Piano @eyboard, and hori9ontally according to the duration of each note and their location within the )D) )tem or the Timeline. Previe% Ieyboard The Preview @eyboard at the left of the screen provides a visual representation of the value of the notes on the Piano &oll, and allows you to audition a note without having to enter or edit it first. Clicking a key on the Preview @eyboard will send a )D) note of the corresponding value to the )D) )nstrument that is connected to the Track. The Preview @eyboard can mimic a velocity sensitive keyboard. Clicking on the far left of a key will generate a soft note, while clicking on the far right of a key will generate a loud note. En ering $ Edi ing 9o es )D) notes can be recorded as part of a performance, imported from an e+isting )D) file, or they can be manually entered using the )D) 'ditor. This section describes the various methods for creating and editing notes using the )D) editor. Using #e 0ouse: <otes can be entered by dragging your mouse from left to right across the Piano &oll. The duration of the note will increase as you drag the <ote. )f Anap is enabled, the duration will Anap to the nearest Hrid Mine ?depending on the strength of your Anap settingsB. <otes can also be entered by double>clicking on the Piano &oll ?in a space not already occupied by another noteB. )n this case, the duration of the note is determined by the value of the Hrid Aetting. <otes can be deleted by double>clicking on the <ote. The duration of an e+isting note can be altered by dragging the edge of the note. :hile holding it, you can drag the note out, move it up and down, etc. :hen you let go, the notes will be positioned according to your snap setting. ( noteFs velocity can be ad=usted by clicking and dragging up or down from the top of the note, in similar fashion to that used for ad=usting the item volume button or handle in &'(P'&Fs main window. <otes can be moved by dragging in any direction. Dragging left or right will change the location of the note in the Timeline, while dragging up or down will change the note value.

For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' !!%

Up and Running: A REAPER User Guide v 4.30

*#e Rig# E5+ic& 9o es 0enu
-nser no e a 'ouse cursor ( very Euick way to insert notes. )t will insert notes according to the current snap values wherever your mouse floats over. &emember to use )<A'&T key otherwise you will have to move your mouse cursor* -nser no e a edi cursor Aimilar to previous, but wherever the edit cursor is. 5opy$5u $Pas e These are standard :indows editing commands which perform standard :indows functions. Pas e preserving posi ion in 'easure Paste preserving position in measure pastes to the ne+t measure after the cursor position, retaining the relative position of the item pasted. 3e+ec a++ no es Aelects all notes in this )D) 'ditor window De+e e no es Deletes all notes in current selection. 3p+i no es <otes can be split at the 'dit Cursor by selecting 3p+i no es ?3B from the right>click menu. (ll notes that are under the 'dit Cursor will be split. 3p+i no es under 'ouse cursor <otes can be split at the location of the ouse Cursor by selecting 3p+i no es under 'ouse cursor ?3#if 3B from the right>click menu. /oin no es Soins all notes in current selection to make one note per row. 0u e no es utes according to conte+t the current note selection or the note under the mouse cursor. 3e+ec previous no e 3e+ec ne1 no e Aelects previous or ne+t note in place of current selection. 3e+ec previous no e %i # sa'e va+ue 3e+ec ne1 no e %i # sa'e va+ue 3e+ec a++ no es %i # sa'e va+ue )n place of currently selected note, selects previous, ne+t or all notes with the same value as the currently selected note. 9o e proper ies Kere you can alter the various values attributed to a midi note by entering values into te+t bo+es. Iou can change any of theseno e pi c#; ve+oci y; posi ion; +eng #; c#anne+ Iou can use V or Q to make relative changes. For e+ample, for note value, entering V%o! will raise the pitch by one octave and two semitones. 9o e c#anne+ F"E"BG ( Euick way to change the channel for the current note selection. For e+ample, choosing channel 3 will ensure that a note will use channel 3 >> and will send that note to the vsti or midi instruments channel 3. 9o e ve+oci y F"E"!>G ,sed to change the velocity for a note or note selection to a specified value, within the range % to %!#.

,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. !!!

"! E 0anipu+a ing and Edi ing 0-D- - e's

"!."> Using #e Ieyboard
Mooking at the right click <otes menu you can see that default keyboard shortcuts have been assigned to many of these commands. There are others that are not shown on the menus. Aome of the most useful of these are listed here. <otes can be entered at the position of the edit cursor by using the @eyboard Ahortcut - or at the mouse cursor by pressing -nser . The duration of the note will be determined by the value of the grid setting ?from the Hrid Division bo+B. The effect of this is shown in the two illustrations ?rightB, before and after. The Edi 5ursor position on the Timeline is ad=usted by using any of the following @eyboard Ahortcuts. *o do #is : ove edit cursor right by one grid division. ove edit cursor left by one grid division. ove edit cursor right by one pi+el. ove edit cursor left by one pi+el. : use #is s#or cu Rig# or 5 r+ 9u' B Cef or 5 r+ 9u' 4 3#if Rig# or 5 r+ A+ 9u' B 3#if Cef

or 5 r+ A+ 9u' 4

9o es can be 'oved using any of the following @eyboard Ahortcuts. *o do #is : ove selected note?sB down one octave. ove selected note?sB down one semitone. ove selected note?sB up one octave. ove selected note?sB up one semitone. ove edit cursor left by one pi+el. ove edit cursor left by one grid unit. ove edit cursor right by one pi+el. ove edit cursor right by one grid unit. : use #is s#or cu A+ 9u' ! 9u' ! A+ 9u' @ 9u' @ A+ 9u' 4 9u' 4 A+ 9u' B 9u' B

9o e disp+ay can be fi+ ered for channels % to %" using any of the shortcuts 3#if " thru 3#if 0. 3#if R removes the note filter and restores all notes to view. Use F"EF"! as s ep seJuencer: :hen Use F"EF"! as s ep seJuencer is selected, the Function keys F% thru F%! can be used to enter notes. The Function keys are mapped to the %! Aemitones of an $ctave, with F% having the lowest pitch and F%! having the highest pitch. The method for using this is the same as already described under the )D) 'ditorFs main Op ions menu. 9o e Proper ies: The keyboard shortcut 5 r+ F! can be used to open the <ote Properties bo+, as an alternative to choosing the command from the right>click menu. 3e+ec ing $ Edi ing 'u+ ip+e 9o es: ultiple notes can be selected by holding down the Ctrl or Ahift keys while selecting notes with the mouse, by drawing a arEuee ?&ight>click and dragB around a group of notes, or by using Aelect (ll ? 5 r+ AB. The value of all selected notes can be ad=usted by dragging one of the selected notes. The duration of all selected notes can be ad=usted by dragging the edge of one on the selected notes. The note velocity of all selected notes can be ad=usted by dragging the Oelocity handle ?when activeB of one of the selected notes. The default Oelocity value for notes created in the )D) 'ditor is taken from the last selected event > e.g. if the Oelocity of the last selected event was #", then the Oelocity value for the ne+t created note will be #". For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' !!1

Up and Running: A REAPER User Guide v 4.30

"!."@ Genera+ 0-D- Progra' Pa c#es

:e have already seen that you can use a ;ank.Program Aelect lane to make program changes within an item. )tFs worth noting that &'(P'& includes a file H .reabank ?in the U(pplication DataU&'(P'&UData folderB which can be used to select standard Heneral )D) banks and patches. (n e+ample is shown here. )f the Heneral )D) banks are not automatically available in the ;ank drop down list, click on the Coad Fi+e button, navigate to the &'(P'& data directory and select the file G0.reaban&.

"!."A 0-D- Previe% 3crub

:ithin Piano &oll Oiew and <amed <ote Oiew you can preview your )D) material by clicking and dragging the edit cursor along the timeline. This is similar to audio scrub- e+act scrub behavior will be determined by the settings under Op ions; Preferences; Audio; P+aybac&.

"!.!0 0-D- Edi or 0odes and Vie%s

"!.!0."
The %. !. 1.

9o e 0odes

)D) 'ditor has three modes, accessible from the Vie%s menu.Piano Ro++ Vie% D keyboard shortcut A+ ". 9a'ed 9o es D keyboard shortcut A+ !. Even Cis D keyboard shortcut A+ 3.

,p until now, the only view used in this ,ser Huide has been Piano &oll. ;efore moving on to e+amining the other two views, there are a couple of points that you might find interesting. 9a'ed 9o es 0ode: )n this mode you can double right click in the left pane to enter te+t, as shown. )f you select the option on the Oiew menu to 3#o% no e na'es on even s, then the names will be shown on the actual notes themselves, as shown here. )f you leave this option enabled, the names will also be displayed in Piano Ro++ Vie%. )n named note mode, you also have the options

?Oiew menuB to 3#o% a++ no e ro%s, )ide unused no e ro%s and )ide unused and unna'ed no e ro%s. The first of these options is the default. Kiding unused note rows can make it easier for you to navigate thru the )D) 'ditor to work with e+isting notes. Kowever, problems may occur if you then want to add or move notes to rows that are currently empty. The option to )ide unused and unna'ed no e ro%s can help you to get round this. ;y taking the time before you choose this command to name any empty rows that you are likely to need, you will ensure that these rows will still be available to you.

,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. !!2

"! E 0anipu+a ing and Edi ing 0-D- - e's

Even Cis 0ode:

'vent Mist mode displays the )D) information as a list of events, in tabular form. )n this mode you can use the right click menu ?shown leftB to insert, copy, cut paste, delete or mute any events.

Iou can also double click on any event to modify that eventFs properties ?see e+ample rightB. $f course, the information displayed in the 'vent Properties dialog bo+ will in large measure depend on the event type of event.

The Toolbars displayed in 'vent Mist view are simpler than that used in the other two views. The Fi+ er button ?top leftB and drop down 5#anne+ list ?top rightB are used e+actly as in the other two views to filter only those events that you want displayed. The purpose of the Add Even and De+e e buttons should be self>e+planatory.

For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' !!P

Up and Running: A REAPER User Guide v 4.30

"!.!0.! 9o e 3 y+es
The default display note style used by the )D) 'ditor is rectangular. This is the style that has been displayed in all of the Piano &oll Oiew and <amed <ote Oiew e+amples up to now. Kowever, two further options are available, specifically for use with drum sounds. These are triangle and diamond modes. To choose a note style, use the Vie%; Piano Ro++ 9o es command and select Rec ang+e, *riang+e or Dia'ond. (n e+ample which uses triangles instead of the default rectangles is shown on the left.

"!.!" Ouan i=ing 0-D- Da a

The term Ouan i=e refers to a process of aligning a set of musical notes to a precise setting. This results in notes being set on notes and on e+act fractions of notes. :hen you Euanti9e a group of )D) notes, the program moves each note to the closest point on the timing grid. The point of Euanti9ing is to provide a more uniform timing of sounds. )t is often applied to )D) notes created by a musical keyboard or drum machine. Cuanti9e is available by choosing the Edi ; Ouan i=e even s command from the )D) 'ditor menu. This causes the dialog bo+ shown on the right to be displayed. The first choice you have is between the Use Grid and 0anua+ 3e ings option. :e7ll come to ,se Hrid shortly. Ahown right is the dialog bo+ interface that appears when the anual option is selected. The various Euanti9e parameters are e+plained below. <otice the 2ypass option ?top rightB. Disabled it lets you see the result of different Euanti9e parameter settings as you tweak them. 'nable this until you are finished if you don7t want this to happen. Toggle it if you want to compare how your music sounds with and without Euanti9ing applied. A++ 9o es, 3e+ec ed 9o es, A++ Even s or 3e+ec ed Even s. The first Cuanti9e drop down list allows you to Euanti9e selected notes or events ?not =ust notesB or the whole seEuence ?all notes or all eventsB. This can come in handy if you =ust need to Euanti9e a certain off section, or perhaps =ust a certain instrument, such as the hi>hats of a drum section. The second Cuanti9e drop down list works in con=unction with whatever selection

,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. !!N

"! E 0anipu+a ing and Edi ing 0-D- - e's

you make from the first. Iou can choose to have the Euanti9ing of notes and.or events applied to the Posi ion only, Posi ion K 9o e End, Posi ion K 9o e Ceng #, 9o e End On+y or 9o e Ceng # On+y. The 3 reng # setting ad=usts how strictly notes are Euanti9ed. The lower you set the strength, the less 7magnetism7 the grid has to the midi notes. This introduces subtle imprecisions to the Euanti9ing which can make the outcome seem less clinical. The Grid and ?if enabledB Ceng # values determine which units ?measured as fractions of a noteB are used for Euanti9ing. These can be selected from the drop down lists or entered manually in their respective bo+es. They act in con=unction with the A++o% no es o options ?see belowB. 0ove +ef and 0ove rig# . )f Cuanti9e Position is enabled, these will ensure that notes are individually Euanti9ed to the start or end of the specified note fraction, whichever is nearest. ove left only will only Euanti9e notes to the start, move right only will only Euanti9e notes to the end. 3#rin& and Gro%. These are applied if Cuanti9e Mength is enabled. &'(P'& will e+tend or shorten notes by moving the end position of each note. Iou can enable either or both of these options. The Do no Juan i=e even s #a are faders allow you to specify a percentage range for Euanti9ing. For e+ample, if you set the top slider to "J and the bottom slider to %""J then all notes will be Euanti9ed no matter how far they are from the grid. (t 1"J and %""J, only those notes that are at least 1"J off the grid will be Euanti9ed. (t 1"J and #"J, those notes closer to the grid that 1"J and those notes further from the grid than #"J will be Euanti9ed. Fi1 Over+aps can be enabled to stop notes from overlapping as a result of being Euanti9ed. :hen the Use Grid Aetting is selected, the Cuanti9e 'vents dialog bo+ will be as shown on the right. From the Grid drop>down list ?at the bottom of the )D) 'ditor window, ne+t to the transport barB, select a note length value ?such as %.1!, %.%N or %.3B and then select an item from the grid spacing ype list. This can be straight, triplet, dotted or swing. )f you choose 3%ing a strength fader is displayed ?see belowB. This can be used to ad=ust the swing setting within a range of >%""J to %""J, or you can enter a value directly into the 3%ing \ edit bo+ to its immediate right. Iou should also set a 9o es valueleft at Hrid, this will take its value from whatever is chosen for the grid. $therwise you may select any other reEuired value from the drop down list. ,sed well, swing can result in a more musically pleasing output. )n essence, you define a percentage delay to be applied on the upbeat. For e+ample, if you apply swing to %.2 notes then those which coincide with the %.! note divisions will be unaffected by the swing, those that fall between these divisions will be delayed by the amount specified. Amall amounts of swing ?even PJ or lessB can help to prevent a part from sounding too rigid. Cuanti9e is non>destructive D that is to say, the process can be reversed at any time. The various other commands on the Edi menu that are used with Euanti9ing areOuan i=e no es using +as se ings This bypasses the Ouan i=e Even s dialog bo+, making it easier for you to apply the same Euanti9ation settings to various disparate selections. Ouan i=e no es posi ion o grid This Euanti9es notes according to your grid settings. UnJuan i=e even s &emoves Euanti9ation and returns the notes to their previous state. Free=e Juan i=a ion for even s Free9es the Euanti9ation for all currently selected events.

For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' !!#

Up and Running: A REAPER User Guide v 4.30

Ahown above is an e+ample. The top picture shows two unEuanti9ed notes selected. )n the second picture they are Euanti9ed by moving them left. )n the third picture, they are Euanti9ed by moving them to the right.

"!.!! -npu Ouan i=a ion

The term -npu Ouan i=e refers to a process by which )D) notes are automatically Euanti9ed as they are entered. This could be, for e+ample, by playing your )D) keyboard, or even the &'(P'& Oirtual @eyboard. )nput Euanti9e is applied on a per track basis. Aimply right click over the trackFs O, eter and choose *rac& Recording 3e ings from the conte+t menu. This causes the dialog bo+ shown on the right to be displayed. Iou should then select the option to Ouan i=e rac& 0-D- recording. $ptions then available include The note length to be used for Euanti9ation ?e.g. %.3B. Iour Euanti9e positioning preference. $ptions are 9eares va+ue, Previous va+ue and 9e1 va+ue. :hether to Euanti9e note>offs. Cuanti9ation strength. ( lower setting will allow more subtle variation, creating a more 4human5 effect by allowing minor variations in how strictly the Euanti9ation is applied. Awing setting. This can be between "J and %""J. Iou can use this setting to add a touch of delay to those notes that do not fall on the upbeat. The best way to understand how these settings affect how your notes sound is to try a few e+amples. Cuanti9e within J range. These are similar to the <early Cuanti9ed and Far From Cuanti9ed faders in the Cuanti9e 'vents dialog bo+ ?see previous sectionB.

"!.!3 )u'ani=e 9o es
Kumani9e <otes ?from the 'dit menuB can be used to introduce subtle variations D some might say imperfections* D to a )D) item that is =ust too e+act, too perfect. For e+ample, no human pianist will ever complete an entire live performance on an acoustic piano with every key being struck with e+act precision and perfect timing. Therefore, you might not want your )D) items to be too perfect. The )u'ani=e 9o es dialog bo+ ?rightB can be used to introduced random variations in timing and velocity to an e+isting )D) item to make it sound G well, more human*

"!.!4 F3 E *#e Panic 2u on

The F3 key can be your best friend when you are working in the )D) 'ditor ?and also when you are playing back )D) items in &'(P'&7s main (rrange OiewB. Pressing F1 will set all notes to all )D) outputs off, until you stop and recommence playback. ,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. !!3

"! E 0anipu+a ing and Edi ing 0-D- - e's

"!.!? Using #e 0-D- Edi or: an E1ercise
)n this e+ample, you will be introduced to some simple e+amples which involve working with the &'(P'& )D) 'ditor. The ob=ective of this is not to produce a stunningly brilliant piece of music, but to help you to become familiar with the )D) 'ditor. The step by step instructions assume that you are using a PC with :indows. $A.8 users will need to adapt some of the steps to suit their own environment. E1a'p+e %. Create a new pro=ect file. (dd one track to it. (rm this track for recording and set its input to your keyboard if you have one, or to the virtual keyboard if you do not. )D)

!. &ecord about !" or 1" seconds of a very simple tune on Channel %. This might be part of a nursery rhyme or some other song with which you are familiar. Iour Track and )tem will look something like this-

1. )f you are using :indows, display the trackFs -O ?&outingB window and add a 0icrosof G3 (ave ab+e 3( 3yn #. 2. Play the tune. )t should play with a piano sound. P. Double click on the item to open it with the #. )D) 'ditor. N. Display the drop down note>length list and set it to %.!.

)D) Kardware $utput to

Acroll your mousewheel up or down until you are satisfied with the hori9ontal 9oom setting. ,se 5 r+ with the mousewheel to find an acceptable vertical 9oom setting. Iou should see something like this.

3.

Sust for fun, draw in a few more notes by clicking and dragging in the edit window. '+periment with using your mouse to move them about and change their length ?by clicking and holding over a noteFs right edge and dragging left or rightB. Delete any that you do not want to keep. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' !!Q

Up and Running: A REAPER User Guide v 4.30

Q. <ow Room out hori9ontally to see the entire length of the item.

%". Display the 55 Cane Cis and choose 2an&$Progra' 3e+ec ?as shown rightB. %%. (t the very start of the song, double click in the CC Mane. Aelect the bank Genera+ 0-D- and the program 5#urc# Organ. Click on OI. %!. &eturn to the start of the timeline and play the tune. )t should sound like a church organ. %1. Draw in a number of long 4dronish5 notes as shown below. arEuee them ?right click dragB to select them all ?but only your new notesB.

%2. &ight click over any of the selected items, choose 9o e 5#anne+ from the menu, then channel !. %P. Double click in the CC Mane,at the start of the song. Aelect Genera+ 0-D-, 5#oir Aaa#s and 5#anne+ ! ?see rightB. Click on OI. %N. Play the song from the start. Iou should hear an organ with a choir. The choir may seem too loud. %#. Change the CC lane to display 0> Vo+u'e 032. %3. Click on the Channel Filter Mist ?on the toolbarB and choose Channel !. <ow only your (aahs are displayed. %Q. Click, hold and drag your mouse as you sweep along the CC Mane with a fairly low volume setting, as shown below.

!". &emove the channel filter and restore all channels to view. !%. Display the Color drop down list and choose Channel. !!. Close the )D) 'ditor and save the file. )D) 'ditor on your own. !1. Play it. The choir should now sound a lot Euieter. !2. Continue if you wish to further e+plore the

,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. !1"

"! E 0anipu+a ing and Edi ing 0-D- - e's

"!.!B 0-D- Edi or 0ouse 0odifiers
The ouse odifier page of your Preferences window can be opened by the Op ions; 0-D- edi or 'ouse 'odifiers command. )t includes several areas in which you can modify mouse behavior within the )D) 'ditor. These are 0-D- no e, 0-D- no e edge, 0-D- 55 +ane, 0-D- 55 even , 0-D- ru+er, 0-D- piano ro++ and 0-D- edi or. )n many cases, separate conte+ts are also available for click, drag and double>click behavior. Iou can define how you want your mouse to behave when it is being used in any of these conte+ts. :ithin most of these conte+ts you will find several different types of mouse action. For e+ample, when working with )D) notes, a different action will be reEuired when ?sayB dragging a note from when double> clicking on it. Thus, within the ouse odifier page of your preferences, you can select not only a conte+t but also a type of mouse action. Ahown right are two e+amples- the default actions for the conte+ts )D) note left drag ?aboveB and )D) piano roll left drag ?belowB. Iou can see that by default many actions are already defined. For e+ample, simply dragging a )D) note ?or selection of notesB will by default move the note?sB, whereas holding Ctrl while you do this will copy them. (s you go down the list some of these defaults become Euite interesting. For e+ample, holding Ahift and (lt while dragging a marEueed selection of notes will stretch the selection out hori9ontally so as to arpeggiate the notes. Aimple click and drag in the empty piano roll area will initially draw a note, then e+tend it as the mouse is dragged. Oarious keys can be used with this for other actions. For e+ample, holding Ctrl and (lt while dragging will paint a straight line of notes between mouse up and mouse down. <otice that many of the possible assignments are not used. For e+ample, AhiftVClickV(lt in the above e+ample is not used, neither are any of the permutations that include the :in key. Iou can click on any of these for a list of assignable actions that you can use for any of these. Iou can also use this method to change any e+isting assignments. Ahown above right are some of the actions which are available to be assigned to any modifier in con=unction with left click.drag with )D) notes. )f you use the )D) 'ditor a lot, you should take the time to e+plore =ust what is available for the different conte+ts. Take the time also to look at the 0-D- Edi or rig# drag assignments. (s well as there being several variations on e+actly how the marEuee behaves ?select notes, add notes, toggle selection, etc.B there is also a handy action using 5 r+ A+ to select all notes touched while freehand dragging. Iou7ll find more information about mouse modifiers in Chapter %1. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' !1%

Up and Running: A REAPER User Guide v 4.30

"!.!> 0-D- Edi or Ac ions
&'(P'&Fs (ction Mist 'ditor lets you assign keyboard shortcuts to any command or action, or seEuence of actions. Chapter %1 will show you in detail how to use the (ction Mist editor, but itFs worth taking a Euick look some of its basic features while youFre working in the )D) 'ditor. The (ction list is displayed by choosing 3#o% ac ions +is from the Ac ions menu. $ne of the first things to notice about it is that it contains a whole load of assignable actions beyond those that are shown on &'(P'&Fs menus. This means that you are able to create your own keyboard shortcuts for any of these actions, and even for seEuences of actions. <otice also ?rightB that when you display the (ction Mist from within the )D) 'ditor, you are able to assign )D) commands and actions to keystrokes so that those keys will behave differently in the )D) 'ditor from the way they behave in the main &'(P'& environment. MetFs take a simple e+ample. ;eing able to select notes Euickly and easily is important when you are working with the )D) editor. )f in the (ction Mist filter bo+ you type se+ec then only those actions which included this word will be displayed ?see aboveB. Iou can see that thereFs Euite a few, and that some D such as Edi : 3e+ec a++ D already have keys assigned to them. $ne of these is Add ne1 no e o se+ec ion. Iou can assign a shortcut to this action D perhaps the letter <. E1a'p+e %. :ith any )D) item open in the )D) 'ditor, choose the Ac ions; 3#o% ac ions +is command. !. Click on the action Add ne1 no e o se+ec ion. 1. Click on the Add: button. This causes the Ieyboard or 0-D- -npu window to be displayed. 2. Press the letter 9. Click on OI. Iou can see that this keystroke has now been assigned to this action. P. 5+ose the (ctions Mist. N. Click on any note to select it. <ow press 9 several times. 'ach time you do so, the selection will be e+tended by one note. Iou could now move these notes together, or assign them to a different channel, or delete them, or perform any other editing action. ThatFs about as simple as it gets. (s youFll see in Chapter %1, the (ctions Mist 'ditor lets you do much more than =ust this. For e+ample, you can (dd selected actions to the (ctions menu. Chain together any seEuence of actions so that the seEuence can be e+ecuted with a single keystroke. (dd actions and custom actions to your )D) 'ditor toolbar.

"!.!@ -nECine 0-D- Edi ing

&'(P'&Fs main )D) 'ditor is recommended for serious and in>depth editing of your )D) items. Kowever, many common tasks can be carried out using the in>line editor if you prefer. This allows you to edit the )D) item without leaving the main window. To use the in>line editor on any )D) item, first select the item then either use the default shortcut key E or right click and from the menu choose Open i e's in Edi or then Open i e's in -nE+ine Edi or. The in>line ,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. !1!

"! E 0anipu+a ing and Edi ing 0-D- - e's

editor will only be displayed if there is sufficient track height.

The in>line editor displays piano roll view only, and the contents of CC lanes will be determined by whichever lanes were selected last time the item was opened in the )D) 'ditor. )f it has never been opened in the )D) 'ditor, the Oelocity lane will be selected by default. Iou can ad=ust the boundary between the editing area and the CC lane with the mouse to ad=ust its height, =ust as in the )D) 'ditor. &ight>clicking over the editing area will display a menu that will show you which editing tasks can be carried out with the in>line editor. These are listed in detail in Chapter !", but in summary, the following types of commands and actions are supported within the in>line )D) editor <ote editing mouse actions, including change length, change velocity, marEuee, move, delete and insert. ost commands on the )D) 'ditorFs 'dit and Oiew menus, including Euanti9e and humani9e. :hen you are working with the in>line editor, any keyboard shortcuts and custom actions that you have defined in the main )D) 'ditor will apply, along with any defaults. For e+ample, PageUp and PageDo%n will 9oom vertically in and out within the in>line editor. Iou can run your )D) 'ditor custom actions within the in>line editor. The in>line editor also displays a small toolbar in its top right corner. From left to right, the function of these tools is The 0ove 55 %i # even s toggle tool- serves the same purpose as its eEuivalent tool in the )D) 'ditor window. The 3#o%$)ide tool ?magnifying glassB- toggles between the functions Ahow all note rows, Kide unused note rows and Kide unused and unnamed note rows. The - e' 3 y+e tool- toggles between rectangle, triangle and diamond style for displaying notes. The Ver ica+ 3cro++$Poo' tool. Click and hold on this and drag vertically up or down to scroll vertically up and down, left and right to 9oom vertically in and out ?see e+ample, rightB. The 4 tool. This closes the in>line editor and restores normal display. The )D) 'ditor and )n>line 'ditor are designed for editing your )D) events. &emember also that many of the item editing tasks, functions and activities that you discovered in Chapter N can also be applied to )D) items as a whole. For e+ample, in arrange view items can be dragged and dropped, split, copied, muted, grouped in selection sets, locked and so on. Plug>ins can be added directly to an item7s F8 chain. Aelecting a )D) item in (rrange view and pressing F! will display its )tem Properties window where you can shift pitch, change play rate, loop enable.disable, and do much more. The remainder of this chapter is mostly devoted to )D)>specific item tasks that are performed in (rrange Oiew.

"!.!A 5opying 0-D- - e's in Arrange Vie%

:hen you make a copy of a )D) item in arrange view, then depending on your preferences and on how you make the copy one of two outcomes will occurThe first of these is that the new item will be created as a new instance of the original item, and as such will use the same source data as the original. )n this case, any changes made to either item will be applied to the source data, and therefore also to the other item. This might be what you want, for e+ample,if you have a melody, a bass line, or a drum pattern that you wish to repeat several times throughout a pro=ect. IouFre still working on the line, and you may need at some future time to make changes to these items, and you wish to do this in such a way that when you make these changes to any one item they will automatically be applied to all of the others. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' !11

Up and Running: A REAPER User Guide v 4.30

)n the alternative scenario, the new )D) item becomes a discrete item in its own right, so that you can independently edit either item without affecting the other. ;y default, when you copy and paste items using the menus or keyboard shortcuts ?such as 5 r+ 3#if 5 and 5 r+ VB, the former method ?with common source dataB is applied. The items are also added to the Pro=ect edia ;ay ?see Chapter %%B where they are listed as )D) pool items.

)f you wish to change this default behavior, you should disable the preference ?under Op ions, Preferences, 0edia, 0-D-B to Poo+ 0-D- source da a %#en pas ing or dup+ica ing 'edia i e's ?see also Chapter %QB. )tems will then by default be copied as discrete items. <ote that a new )D) pool item is never created when an e+isting )D) item is split. <ote also that by default )D) items added to a pro=ect from the Pro=ect edia ;ay are not pooled. The default behavior when you copy an item by dragging with the mouse depends on your mouse modifier settings for the conte+t 0edia i e' drag. ;y default, the following apply when dragging )D) itemsDrag and drop 5 r+ with drag and drop 3#if 5 r+ A+ with drag and drop ove item ignoring time selection Copy item as discrete item Copy item, pooling )D) source data.

For a complete list of mouse modifiers, see the 'diting ;ehavior, ouse odifiers page of your Preferences. Aelect 0edia i e' +ef drag from the conte+t list. Iou can change any assignments if you wish. The method is e+plained in Chapter %1. Iou can remove any individual )D) item7s pooled status and convert it into a discrete item. To do this, either display the item7s source properties window ? 5 r+ F! or use the conte+t menuB and click on UnEpoo+ #is i e', or click on the item7s pooled status icon ?see rightB.

"!.30 /oining 0-D- - e's

There may be times when you wish to =oin a number of )D) items together. This might, for e+ample, be to create a single loop enabled item, or simply so that you can edit them as one item, or perhaps to be able to e+port the )D) data as a single )D) file. For e+ample, you might have several )D) items that you wish to e+port together as a single file. The track shown below might be an e+ample of this.

Iou can select all of the items ?right>click and drag is often the easiest way to do thisB and glue them togetherright>click anywhere on the selection and choose G+ue i e's from the conte+t menu. ,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. !12

"! E 0anipu+a ing and Edi ing 0-D- - e's

Iou can then double>click on the glued item to open the )D) file ?Fi+e, E1por o ne% 0-D- fi+e :B.

)D) 'ditor, from where you can e+port it as a single

"!.3" E1por ing Pro6ec 0-D:ithin &'(P'&7s (rrange view, the Fi+e; E1por Pro6ec 0-D- : command can be used to e+port either an entire )D) pro=ect or selected items or tracks within that pro=ect to a single

)D) file.

(n e+ample of such a pro=ect file is shown here. )t includes si+ tracks with )D) events ? a different channel for each trackB, enclosed in a folder whose F8 chain includes a virtual instrument. For the most part, the options shown here reEuire little e+planation. Iou can choose to e+port the En ire pro6ec time or the current *i'e se+ec ion on+y. Iou can include A++ media items within the pro=ect, or 3e+ec ed rac&s on+y or 3e+ec ed i e's on+y. )n the e+ample shown, Aelected items only has been chosen. The )D) data in all selected )D) tracks will be e+ported, but not of course any record of the contents or settings of the folder or the OATi. Iou can merge the various )D) tracks to a sing+e 0-D- rac& in the output file or e+port it as a 'u+ i rac& 0-D- fi+e, with the integrity of the different tracks maintained in the output file. Iou also have the option to E'bed #e e'po 'ap.

"!.3! 0-D- 2uses; 0-D- Rou ing and Re(ire

&'(P'&7s )D) routing capabilities can be enhanced by the use of )D) buses. ;y default, your )D) tracks can contain up to %N )D) buses, each comprising %N )D) channels. :hen sending )D) data from one track to another, you are able to specify bus.channel combinations for both the source and destination tracks rather than =ust a channel. These options are available in the drop down lists in the )D) send.receive windows ?rightB. )D) data sent from one track to another in this way can be directly routed to any OAT or (, synth in that track7s F8 chain. To do this, right>click over the plug>in7s 4! $ut5 button and choose the reEuired )D) ;us from the )D) )nput menu ?see belowB. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' !1P

Up and Running: A REAPER User Guide v 4.30

The same conte+t menu can also be used to assign )D) $utput to any bus, and.or to assign the synth7s audio output to any track channel or channels. &e:ire users may be interested to know that )D) data routed in this way can be also be mapped to &e:ire, using any permutation of buses.channels that you reEuire. For more information about using &e:ire with &'(P'&, see Chapter %P.

"!.33 3o'e 0-D- P+ugEins

&'(P'& includes a good selection of plug> ins that can be placed into the F8 chain of any of your )D) tracks, or directly into any )D) item. any of these ?the )8 seriesB have been written and developed by Philip Consadine. <ow is a good time to take a look at them. The basic steps involved in inserting and using Track F8 are covered in the section Track F8 ;asics. )f you are unfamiliar with these steps, you should review that section before proceeding. )f you display the Add F4 window and type midi into the filter list bo+ ?as shown hereB, you will see a list of those )D) F8 that are currently available. ;elow are listed some of the SA )D) F8 supplied with &'(P'&. F4 9a'e 0-D-755Rider 0-D-7Dup+ica eFi+ er 0-D-7Iey0ap 0-D-7Iey3nap 0-D-7Rou er 0-D-7*oo+ and 0-D- *oo+ -'idi7 ranspose 0-D-7Varian 0-D-7Ve+ocifier -'idi7ve+oci ycon ro+ 0-D-7(obu+a or seJuencer7baby 3yn #esis$'idi7dru'seJ 5o''en s ( MF$ Controlled CC generator. ;locks duplicate notes. ( )D) key mapping utility. This is a good cheat for bad pianists. &outes events from one channel to another. These do interesting and fun things to Transposes a note or a range of note. ( pattern based, musically aware, randomification monster. This is a pattern based velocity modifier. ,sed to vary and control velocity on a (n awesome pattern seEuencer. ,se this drum seEuencer with your favourite patch set. )D) track. ( MF$ Controlled automatic pitch wobulator. )D) note events.

,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. !1N

"! E 0anipu+a ing and Edi ing 0-D- - e's

These plug>ins can be made even more powerful by the use of automation envelopes, which can be applied to any of their parameters. Kow to create, manage and apply automation envelopes will be covered in Chapter %N. For more information about how to use these and other )D) plug>ins, visit the Cockos web site, and in particular # p:$$%%%.coc&os.co'$%i&i$inde1.p#p$/esusonic7Effec s7Docu'en a ionZ0-D-

"!.34 0-D- 5on ro++ed Pi c# 3#if %i # ReaVoice

The ReaVoice plug>in ?supplied with &'(P'&B can be used in con=unction with a recorded vocal track to create pitch shift harmonies. (s with many other plug>ins, ReaVoice can be used in a number of ways. )n this section we will take you thru =ust one e+ample. (fter completing this e+ample you should be able to e+periment with this plug>inFs capabilities for yourself. The procedure for using &eaOoice is as follows &ecord the Oocal Track. )nsert a new track immediately below the Oocal Track. Create a send from the Oocal Track to the new track. )nitially at least, this should be Pre F8. )nsert &eaOoice into the F8 :indow of the new track. (rm this track for recording. Aelect your )D) keyboard as the )nput Device and turn )nput onitoring on. ute all tracks e+cept these two. Play the song. (s you do so, play the keyboard, e+perimenting until you find an appropriate range of notes. :ork out what you want to play, press ( to return to the beginning, then 5 r+ R to record. Atop recording when finished. )f you do not have a )D) keyboard, you can either use &'(P'&Fs Oirtual keyboard, or you can enter the notes by hand using the )D) 'ditor. )f you wish, you can record more than one take, selecting P+ay A++ *a&es for the )D) track items. (fter you have finished recording, you can use the )D) 'ditor to polish up your work.

E1a'p+e )n this e+ample, youFll have some fun and e+plore how &eaOoice works at the same time.
%. !. 1. 2. P. N. #. 3. Q. $pen the file A++ *#roug# *#e 9ig# .rpp and save it as A++ *#roug# *#e 9ig# REAVO-5E.rpp. ute all tracks e+cept the Oo+ track. ove the Oo+ track to the top, select it and press 5 r+ * to insert a new track. Iour Oo+ track is now track % and the new track is track !. <ame the new track Vo1 0-D-. Display the -O window for the Vo1 0-D- track and add a new Pre F4 Receive on Audio "$! from the Oo+ track. )nsert the ReaVoice plug>in into the F8 :indow for this track. For now make its settings as shown above. <ote in particular the number of voices and the long sustain setting. )n the Vo1 0-D- track, insert an empty )D) item from about the %1 second mark to about the P" second mark. This should coincide with the first vocal passage on the Oo+ track. Double click on this to open it in the )D) 'ditor. Create a pattern of notes similar to that shown below. Iou donFt need to follow this precise pattern, be prepared to e+periment. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' !1#

Up and Running: A REAPER User Guide v 4.30

%". (s you play the song, make sure that the two vocal tracks are soloed. Iou can of course edit any individual note or notes, for e+ample, by moving them up or down, by lengthening them or shortening them, or by changing their pitch. Kere are some more possibilities, =ust for fun and to give you some ideas. %%. :ithin the )D) 'ditor window, press 5 r+ A to select all events. %!. Press 5 r+ F! to display the 9o e Proper ies dialog bo+. %1. )n the 9o e bo+, type K! ?as shownB then click on OI. This raises the entire selection by two semitones. %2. '+periment with other settings as you wish. %P. Aave the file when finished. %N. <ow e+periment with ad=usting some of the &eaOoice settings.

"!.3? 0-D- Preferences 3e ings

To specify your )D) preferences, choose the Op ions; Preferences command ?5 r+ PB and then select the 0edia; 0-D- page. Iou7ll find these shown in Chapter %Q, but for now the following are worth noting. Iou can specify whether by default new )D) items are created as &'(P'& media items ?the defaultB or . )D files. Iou can specify how your edits to imported . )D files are to be interpreted D that is, whether to apply your edits only to the item in the &'(P'& pro=ect file or also to the original file on your disk. Iou can set the default behavior for imported multichannel )D) files D as multichannel on a single track, as single>channel items on multiple tracks, or always prompt to ask. There is also a page of )D) 'ditor 'diting ;ehavior preferences ?see Chapter %QB. )n particular, this lets you determine &'(P'&7s default behavior when you wish to open the )D) 'ditor with multiple items. )n addition, the Edi ing 2e#avior, 0ouse 0odifier pages contains several conte+ts in any or all of which you can assign commands and actions to be e+ecuted when various modifier keys ?Ahift, Ctrl, (lt, etc.B are used in con=unction with your mouse. ouse modifier customi9ation is covered in Chapter %1. )n addition, the section immediately after this one contains a brief overview of the topic and some e+amples of how you might wish to use this. $n the ne+t page you will be introduced to two of &'(P'&7s )D) effects.

,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. !13

"! E 0anipu+a ing and Edi ing 0-D- - e's

"!.3B Rea5on ro+0-DThe Cockos &eaControl )D) plug>in can be used with any )D) track to set various )D) parameters on that track. )t can be inserted from the trackFs F8 chain, or by right>clicking over the track name or number and choosing 3#o% Rea5on ro+0-D- for 3e+ec ed *rac&s from the menu. (n e+ample of this plug>in in use is shown here. Iou can use several different instances of this plug>in on the one track to send different )D) messages to different channels. any D(:s have )D) tracks with )D)>specific controls, like bank.program select, )D) volume and pan, etc. &'(P'& instead uses &eaControl )D), which essentially provides a )D) track TCP for any track. This provides you with additional fle+ibility, because you can insert multiple instances, or insert it at any point in an F8 chain, either for the track as a whole or for individual items. <otable features of &eaControl )D) includeCoad Fi+e- Iou can load a &'(P'& .reabank file or Cakewalk .ins file of instrument definitions and then select a preferred bank.program combination. 5on ro+ 5#ange- ,p to five CC items can be selected from the drop down lists. (ny and all of the items available for CC lanes in the )D) 'ditor are available here. &eaControl )D) also gives you a vehicle for creating )D) CC track envelopes, by allowing automation of any of the plug>in7s enabled CC sliders. (utomation will be e+plained in Chapters %N and %#. Iou can also assign track controls to the TCP and.or CP to manage its parameters where you think it appropriate. This is e+plained in Chapter %%.

"!.3> /3: -4$0-D-7Rou er

This plug>in can be inserted from a track7s F8 chain. )t is used to redirect )D) data from one channel to another. Iou can choose whether to send notes, non>notes, or both.

For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' !1Q

Up and Running: A REAPER User Guide v 4.30

"!.3@ *#e 3ca+e Finder
&'(P'&7s main (rrange Oiew includes a feature that )D) users may find useful D the Acale Finder. )t can be used to identify those scales which contain any given set of notes. The Acale Finder is opened using the command Vie% then 3ca+e finder. <otes can be typed from the computer keyboard or entered using a )D) device ?including the Oirtual )D) @eyboardB. The file sample.reascale ?provided and installed with &'(P'&B can be used with the scale finder, or you can click on the button at the bottom of this window and use the Moad command to import a file of your own choosing. Iou also have the option to use the notes that are currently selected in the )D) 'ditor.

,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. !2"

"3 E 5us o'i=a ion: Ac ions; 0ouse 0odifiers; 0enus and *oo+bars "3 5us o'i=a ion: Ac ions; 0ouse 0odifiers; 0enus and *oo+bars
"3." -n roduc ion
Customi9ation is the key to unlocking &'(P'&7s real power and making the program work for you. The more you use the program, the more you will benefit from customi9ing its many features. 'ven occasional users will find that they can benefit from taking the time at the very least to tweak some of &'(P'&7s mouse modifiers and keyboard shortcuts. That7s what this chapter is about. ;y now you should already have come across some of &'(P'&7s options and preferences settings and it7s Euite likely that you might have already changed some of these to suit your own workflow. This chapter really lifts the lid on customi9ation and will guide you thru the following Ac ions. &'(P'& makes e+tensive use of keyboard shortcuts. )n addition, it has a library of hundreds of actions that you won7t find on any of its menus, actions which can help you with any number of tasks. oreover, you can string whole seEuences of these actions together to make your own custom commands which can then be triggered off by a single keystroke. 0ouse 0odifiers. &'(P'& uses the mouse for plenty of activities, some of which you have already encountered ?like moving and copying media items and making time and loop selectionsB, some of which you have not yet encountered ?like editing automation envelopesB. Aome of these you will use a lot, some you will use a little, and some you will only use rarely, if ever. (ny of them can be changed. 0enus. ost &'(P'& menus can be edited to suit your own reEuirements. Iou can move to the top the commands most important to you. Iou can hide the ones you never use. Iou can even add your own custom actions and commands to these menus* *oo+bars. &'(P'&7s toolbar might not be much to look at, with its lonely collection of =ust fourteen tools. Did you know, though, that you can add your own tools to it, as well as create your own e+tra toolbars/

These are the topics that will be covered in this chapter. Apend as much time as you need to get to understand it. )t will pay you dividends.

"3.!

REAPER Ac ions Essen ia+s

;efore we look inside &'(P'&7s (ction Mist 'ditor to e+plore the world of shortcut keys, custom actions, control surface assignments and more, it7s worth taking stock of a couple of useful resources that are available to you. Choose the )*0C Cis s Fau oE genera edG command from &'(P'&7s )e+p menu and you will have three choices. 0ouse 'odifier &eys and ac ion s#or cu s opens your default web browser with a list of all current keyboard shortcut and mouse modifiers. This list is searchable and may be printed. Ac ions opens your default web browser with a list of all of &'(P'&7s many available actions, any of which can be assigned to a keyboard shortcut and.or combined with other actions into your own custom actions. This list is also searchable and may be printed. Rea3crip docu'en a ion. Sust what &eaAcript is will be e+plained later in this chapter and in Chapter !!. ;efore you rush off to print anything, keep in mind also that this information is also contained within the (ction Mist 'ditor itself, and that this editor is searchable. The editor is opened by choosing the Ac ions command from &'(P'&7s main menu, then 3#o% ac ion +is ..., or simply by pressing the U @ey. Met7s take a look inside G

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Up and Running: A REAPER User Guide v 4.30

"3.3 *#e Ac ion Cis Edi or Environ'en

Iou7ll get more out of &'(P'&7s (ction Mist 'ditor ?shown belowB if before trying to use it you take a little time getting to know its interface, its structure and how you can navigate it.

- e' Fi+ er

5o''en s Iou can filter the list of displayed actions using any te+t string or strings that you like. For e+ample, in this screen shot the list has been filtered to show only those actions that relate to track height-

<otice that where an e+isting keyboard shortcut e+ists it is shown to the left of the action. For e+ample, the . @ey is used to toggle the action Vie%: E1pand se+ec ed rac& #eig# ; 'ini'i=e o #ers. Aimilarly, you can see that 5 r+ 3#if 0ouse%#ee+ can be used to ad=ust the height of any track selection.

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"3 E 5us o'i=a ion: Ac ions; 0ouse 0odifiers; 0enus and *oo+bars
- e' Fi+ er Fcon .G 5o''en s

)n this second e+ample, a filter is used to list all actions relating to new tracks. The only one of these that currently has an assignment is *rac&: -nser ne% rac&, This is assigned by default to 5 r+ *. 5+ear Find s#or cu ... The 5+ear button clears any current filter and restores all actions to the list. The Find s#or cu ... button is used to see if a particular keyboard shortcut has already been assigned to any action. :hen you click on this button, you are prompted to type the key or move a )D) controller. :e7ll come to )D) controllers later in this chapter. )f the key that you type is already in use, then its assignment will be displayed ?see belowB.

)n this e+ample above, we have searched to see if an assignment e+ists for the letter s. For this kind of search, you should only type in upper case if you really are searching for the combination of Ahift with the letter. For e+ample, in this case, a search for 3#if 3 would have produced - e': 3p+i i e' a i'e se+ec ion. )n this second e+ample, we have searched for 5 r+ A-

)f no shortcut e+ists for the key or key combination for which you are searching, then a message 3#or cu no found will be displayed. 5o+u'n #eaders$ 3or &eys The 3 a e column indicates for toggle actions whether their current status is on or off. ;y default, actions are listed in alphabetical order of their action name. Iou can click on the 3#or cu column header to sort instead on current keyboard assignments. This causes them to be sorted instead by keyboard assignments, with special characters and numbers at the top of the list ?see belowB.

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Up and Running: A REAPER User Guide v 4.30

- e' 5o+u'n #eaders$ 3or &eys Fcon .G 5o''en s

This can be especially helpful if you wish to familiarise yourself with &'(P'&7s current keyboard shortcut assignments. Click on the column header again to reverse the sort order. Click on Description to sort them back into alphabetical order. 3ec ions The (ction Mist is divided into a number of sections, shown here. The ain section is the one that is used most of the time ?for e+ample, when you are working in (rrange viewB. There are different sections, for e+ample, for actions and shortcuts for use with the edia '+plorer and the )D) 'ditor. )f you open the (ction Mist from within one of these environments, the correct (ction Mist section will automatically be selected for you. $therwise, you can select any section from the drop down list and that section7s actions will also be selected and displayed in the action list. (ny action that is on the action list can be e+ecuted from within the action list whether it has a shortcut key assigned or not. Aimply select the action, then click on the Run button. )f the option 3#o% recen ac ions is enabled on &'(P'&7s main menu ?aboveB then any actions that you e+ecute in this way during your current work session will be added to &'(P'&7s (ction menu and can be e+ecuted from there for the rest of that work session. :hen you close &'(P'&, these actions will be cleared from the menu. This button is similar to the Run button, the main difference being that after running the selected action it closes the (ctions window.

Run

Run$5+ose

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"3 E 5us o'i=a ion: Ac ions; 0ouse 0odifiers; 0enus and *oo+bars
- e' 5+ose Re'e'ber +as fi+ er 5o''en s This closes the (ctions window. )f this option is enabled ?from the (ction window right>click conte+t menuB then &'(P'& will remember your most recent filter and apply it ne+t time the (ctions window is opened, even in a future work session. The (ction window e+hibits the basic characteristics of other &'(P'& windows. For e+ample, you can use the pin symbol ?top rightB to keep it on top, or you can dock it in the docker ?from the right>click conte+t menuB.

Genera+

Iou7ll have noticed several other features inside this window, including a number of additional buttons, some of which are currently dimmed. :e7ll get to these in due course.

"3.4

5rea ing a 9e% Ieyboard 3#or cu

)n this ne+t e+ample, we will create a new shortcut. MetFs take the e+ample of the docker. Filter the action list on 4dock5 and you will see that Vie%: A ac#$una ac# Doc&er o$fro' 'ain %indo% does not yet have any shortcut key assigned to it. Mikewise, if you use the Find s#or cu : button to search for lower case D, you should find that this letter does not have any action currently assigned to it. )ncidentally, &'(P'& will not let you accidentally override an e+isting keyboard assignment. )f you try to use a key that is already assigned elsewhere, you will see a message similar to that shown here ?rightB. Trying to assign lower case U to an action would produce this e+act message. Iou would then have the option as to whether to change the assignment for this key or leave it as it is.

E1a'p+e
%. !. From the Ac ions menu, open the Ac ions window ?3#o% ac ion +is :B MetFs see if we can use D for docking. Click in the Find s#or cu : window. Type lower case D and observe the response. Iou should see a message 3#or cu no found. :e therefore know that this keystroke combination is available. Click on OI to close this message bo+. )n the Fi+ er bo+ type doc& then select from the list of actions Vie%: A ac#$una ac# Doc&er o$fro' 'ain %indo%. Click on the Add button to open the Ieyboard or 0-D- -npu bo+. :hen it appears, untick the option Au o'a ica++y c+ose %indo% on &ey$0-D- inpu . This makes it less likely that you will assign a wrong key by mistake. Press lower case D D you will see D displayed in the Ieyboard or 0-D- -npu bo+ ?see aboveB. Click on OI. Iou can see that this keyboard shortcut has now been assigned. Close the Ac ions window. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' !2P

1.

2.

P. N. #.

Up and Running: A REAPER User Guide v 4.30

3. Iou can now use the shortcut key lower case D to attach.detach the docker to.from the main window.

"3.?

Re'oving an E1is ing 3#or cu

&emoving an e+isting shortcut is easy. For e+ample, you might like to remove the shortcut that you =ust assigned to the action Vie%: A ac#$una ac# Doc&er o$fro' 'ain %indo% . Follow this seEuence%. )n the (ction Mist, find and select the action from which you wish to remove the shortcut. The current shortcut?sB will be displayed =ust below the list. ?see rightB. Click on the shortcut shown in the window ?in this e+ample, the letter DB. Click on the De+e e button. The shortcut will be deleted.

!. 1.

"3.B

5#anging an E1is ing Iey Assign'en

The procedure for changing an e+isting key assignment combines the two techniEues of creating a new shortcut and removing an e+isting one. Met7s take as an e+ample assigning the Up and Do%n arrow keys to the actions *rac&: Go o previous rac& and *rac&: Go o ne1 rac&, instead of 5 r+ A+ Up and 5 r+ A+ Do%n ?the default assignmentsB. %. Find and select the action *rac&: Go o previous rac&. !. )n the displayed list of shortcuts, select 5 r+ A+ Up ?see rightB. 1. Click on De+e e to delete this shortcut. 2. Click on Add... to display the Ieyboard or 0-D- -npu window. P. Press the Up arrow ?see rightB, then click on OI. N. :hen asked if you wish to override the current assignment to Oiew- Room in hori9ontal, choose OI. Iou will still be able to use the Plus key to 9oom in hori9ontal. #. ,se the same techniEues as at steps as at steps %. to N. to change the shortcut key for *rac&: Go o ne1 rac& from 5 r+ A+ Do%n to =ust Do%n.

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"3 E 5us o'i=a ion: Ac ions; 0ouse 0odifiers; 0enus and *oo+bars
"3.> E1a'p+es of Possib+e 3i'p+e Ieys ro&e Assign'en s

any power users believe that keyboard shortcuts are the fastest, most efficient and most productive way of working with &'(P'&. This is especially the case for freEuently repeated activities that might otherwise involve a lot of time fiddling around with the mouse. @eyboard Ahortcuts are an e+tremely important feature of &'(P'&. (s you work your way thru this ,ser Huide, and as you get to know &'(P'& better, you will find that there are all sorts of actions that you can assign to keyboard shortcuts, including hundreds that do not appear on any menus. Kere are some e+amples of some tasks for which you might consider it worth assigning shortcut keys in the ain section, together with suggested keys that you may wish to use. *as& *rac&: *ogg+e bypass F4 for curren +y se+ec ed rac&FsG *rac&: *ogg+e bypass F4 for a++ rac&s *rac&: Vie% F4 c#ain for curren *rac&: Vie% -O for curren rac& rac& rac& Possib+e 3#or cu Iey 2 5 r+ 2 5 r+ F I

*rac&: Vie% enve+opes for curren

"3.@

Ieyboard 3#or cu s for Recording

&'(P'& makes e+tensive use of keyboard shortcuts in many, many areas. )n this section you will be introduced to how you can create your own keyboard shortcuts to make your recording sessions flow more smoothly. Kere is a simple e+ample in which you will create two keyboard shortcuts specifically for use when you are recording. (s you become more e+perienced, you may well find further e+amples that you will wish to e+plore. Iou will have noticed that when you stop recording, &'(P'& by default prompts you to confirm whether you want to save or delete the new media items. The ain ?alt recordingB section of the (ction Mist gives you the opportunity to bypass this prompt by assigning keyboard shortcuts for those options that you use most often D 3ave A++ and De+e e A++. (s with the earlier e+amples, it is only an e+ample. Iou7ll probably find the e+ercise worth completing even if you don7t want to keep these keyboard shortcuts assignments. %. !. 1. 2. P. N. #. 3. Q. %". )n the (ctions Mist 'ditor, select the section 0ain Fa+ recordingG D see right. )n the filter bo+ type s op save. Iou should see the action *ranspor 3 op Fsave a++ recorded 'ediaG Aelect this action. Click on Add : and type lower case 3 then click on OI. Clear the filter bo+, then type in it- s op de+ Aelect the action *ranspor : 3 op FDECE*E a++ recorded 'ediaG. Click on the Add button then type lower case D to assign this shortcut to the letter D. Click on OI. Clear the filter bo+ again. Close the Ac ions window. ake sure that the option to Use a+ erna e &eyboard sec ion %#en recording is enabled. IouFll find this under Op ions; Preferences; Genera+; Ieyboard.

%%. Click on OI to close the Preferences window.

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Up and Running: A REAPER User Guide v 4.30

From now on whenever you are recording, you will have the option of using the shortcut keys 3 or D to stop recording, automatically saving or deleting the newly recorded media items. Iou can still use En er if you wish to be prompted. &emember too that when you are not recording, the keys 3 and D will revert to their normal functions. For e+ample, 3 can still be used to split media items when working in arrange view. *ip: )f you wish, you can assign macros such as these to an e+ternal device such as a keyboard pedal. :e7ll look at this when we look at ,sing a Control Device with &'(P'&.

"3.A

Ieyboard 3#or cu s for #e 0-D- Edi or

'diting is one area where assigning actions to shortcuts can be especially useful, and nowhere more so than when you are using the )D) 'ditor. Take the trouble to familiarise yourself with the contents of the )D) 'ditor section of the (ction Mist and you should be well rewarded. <otice also that there are separate sections for the )D) 'vent Mist 'ditor and the )D) )nline 'ditor. The method used for assigning shortcuts to actions, changing or removing e+isting assignments, etc. is e+actly the same as that used in the ain section. For that reason, this section of the ,ser Huide does not contain any step by step e+amples. Kowever, below are listed some e+amples of some actions that you might find useful when working in the 'ditor. Apecial thanks go to Ausan H for compiling these lists. *o do #is :. 0anaging 9o es )nsert notes of a specific length ake notes legato Transpose notes (d=ust note lengths slightly (d=ust velocities Display only notes matching specified criteria 5#anne+s 0anage'en Apecify a channel for new notes and events Ahow all or specified channels Change the channel for selected notes 5ursor$Grid 0anage'en (dvance the cursor by a note value ove the cursor by specific amount Change the grid divisions Cursor- advance G [range from %.%!3 ... to whole note\ 'ditove edit cursor right.left by grid.measure.pi+el (ction- Aet channel for new events to "% ...% N Channel- Ahow all.only.toggle channels "% G %N 'dit- Aet notes to channel "% ... %N )nsert note G. [range from %.%!3 to %.! to whole note\ Aet note ends to start of ne+t note 'ditove notes up.down one octave.semitone 'dit- Mengthen.Ahorten notes one grid unit.pi+el 'dit- <ote velocity V.>"%, %" Filter- Toggle filter on.off Use an ac ion suc# as ...

)D)

Grid: Multiply grid size by... or Grid: Set division to...

"3."0 Ieyboard 3#or cu s for #e 0edia E1p+orer

)f you work e+tensively with imported samples and so on, you should definitely take the time to get to know the range of actions available within the media e+plorer. ;y now you should be developing enough confidence to e+plore this for yourself, but to help you here is a summary of some of the most useful groups of actions you will find there2ro%ser ac ions- these are used to navigate your folders. For e+ample, by default 2ac&space will take you to the parent folder ?relative to the current folderB. Previe% ac ions- actions e+ist for a host of tasks, including play, pause, stop, toggle repeat on.off, rewind a little, fast forward a little, stop preview when inserting media, and many more. *e'po 'a c# ac ions. These include tempo match off, tempo match on, toggle on.off, and tempo match.!.

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"3 E 5us o'i=a ion: Ac ions; 0ouse 0odifiers; 0enus and *oo+bars
"3."" Assigning Ac ions o #e 0ouse%#ee+
$ne special type of action assignment that you can make is to the mousewheel, optionally also using modifier keys. This way you are able change the &'(P'& default mousewheel assignments. This can be useful, for e+ample, if you wish the default behavior of the mousewheel to be to scroll rather than to 9oom. Kere7s a reminder of the default mousewheel assignments0ouse%#ee+ a+one with 5 r+ with A+ with 5 r+KA+ with 5 r+K3#if OiewOiewOiewOiewOiewRoom hori9ontally Room vertically Acroll hori9ontally Acroll vertically (d=ust selected track heights

(gain, the method for changing these is essentially the same as that which you have already used. Auppose, for e+ample, that you wish to use the mousewheel by itself to scroll hori9ontally.
%. )n the action list, find the action Vie%: 3cro++ !. 1.

2. P.

#ori=on a++y. )n the shortcuts list, select A+ K 0ouse%#ee+ and click on de+e e. Click on the Add button, then scroll the mousewheel. The te+t ousewheel will be displayed, as shown on the right. Click on OI. )f you wished, you could now use the same method to assign A+ K 0ouse%#ee+ to the action Vie%: Poo' )ori=on a++y.

"3."! E1por ing and -'por ing Ieyboard 3#or cu s

The -'por $e1por button near the bottom left corner of the (ctions window can be used backup or restore any or all of your keyboard assignments. '+ported keymap sets are by default saved as .&eaper@ey ap files in the U@ey aps directory of your U(pplication DataU&'(P'& folder. This feature can also be used to copy keyboard assignments from one computer to another. The options on the menu are for the most part Euite self>e+planatory-'por : )mports keyboard assignments from an e+isting .&eaper@ey ap file. E1por a++ : '+ports all your current keyboard shortcut assignments to a .&eaper@ey ap file. E1por se+ec ed i e's : '+ports only those items currently selected to a .&eaper@ey ap file. Res ore a++ s#or cu binding o fac ory defau+ s &emoves your custom keyboard assignments and restores all &'(P'& defaults. .&eaper@ey ap files can also be included when e+porting.importing configuration settings ?see Chapter %QB.

"3."3 5rea ing 5us o' Ac ion 0acros

Iou can assign an entire seEuence of actions to a single keyboard shortcut if you wish. )n fact, there is no preset limit to the number of actions that you can assign to a single keystroke or keystroke combination. The process of assigning more than one action to a keystroke is known as creating a custom action, or macro. (s you browse the actions list, you might at first be somewhat pu99led at some of the items that are there. Iou might wonder, for e+ample, why would anybody need an action for - e': 3e+ec i e' under 'ouse cursor when it is surely easier =ust to click on the item. $ften with actions like this, the answer is that the real power of these actions comes not from using them on their own, but in combination with other actions.

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Up and Running: A REAPER User Guide v 4.30

0anaging 5us o' Ac ions F0acrosG Q 3u''ary *ab+e -n order o do #is ... 5rea e a ne% 'acro Add ac ions o a 'acro 5#ange order of ac ions Re'ove ac ion fro' 'acro Add 'acro o 'ain Ac ions 'enu 5onso+ida e 'acro in o a sing+e undo poin 3ave 'acro Assign s#or cu &ey o a 'acro Edi an e1is ing 'acro 5opy an e1is ing 'acro Run an e1is ing 'acro ,ou do #is ... Click on 9e%... button. Type a name for your macro. Drag and drop from action list, or double>click. Drag and drop up or down the list. Aelect action in macro action list, click on Re'ove. 'nable the option 3#o% in ac ions 'enu. 'nable the option 5onso+ida e undo poin s. Click on OI. Aelect the macro in the (ction Mist. Click on Add. Aelect the macro in the (ction Mist. Click on Edi . Aelect the macro in the (ction Mist. Click on 5opy. ,se shortcut key ?if assignedB, or select the macro from &'(P'&7s (ctions menu ?if this option is enabledB, or select macro in (ction Mist and click on Run option. Aelect the macro in the (ction Mist. Click on De+e e.

De+e e an e1is ing 'acro

Met7s take a simple e+ample. <ormally, to split an item you would need to select the item, position the edit cursor at the reEuired position, and then press A to split it. ;y creating a custom action, we can combine this seEuence of activities into a single keystroke.

E1a'p+e
%. )n the (ctions Mist 'ditor, click on the 9e% button. This will cause the 5rea e 5us o' Ac ion window to open ?see rightB. Type a name, such as 3p+i under 'ouse. !. )n the list of actions shown in the left panel. Find the action Vie%: 0ove edi cursor o 'ouse cursor. Double>click on this action. 1. )n the list of actions shown in the left panel. Find the action - e':3e+ec i e' under 'ouse cursor. Double>click on this action. 2. )n the list of actions shown in the left panel. Find the action - e':3p+i i e's a edi or p+ay cursor. Double>click on this action. ,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. !P"

"3 E 5us o'i=a ion: Ac ions; 0ouse 0odifiers; 0enus and *oo+bars
P. Click on the option 5onso+ida e undo poin s to enable this option. N. Click on OI. Iou will be returned to the main (ction Mist with your new custom action selected. #. Click on Add and type lower case 5 to assign this keystroke to your macro. Click OI. 3. 5+ose the (ctions Mist 'ditor. Q. Kover your mouse over any media item and press lower case 5. The item will be split at that point. $ne of the split items will still be selected. )f you don7t like this, you can edit the macro. %". $pen the (ctions Mist 'ditor, find your macro 3p+i under 'ouse and select it. Click on Edi . (dd to the end of this macro the action - e': Unse+ec a++ i e's. Click on OI. %%. <ow test the macro again. This time it will split items without leaving anything selected. This is of course =ust one e+ample of a custom action macro in action. Think about those seEuences of actions and commands that you use together a lot G think actions, think macros* Iou7ll also find plenty of ideas and inspiration on *#e Usefu+ 0acro *#read on &'(P'&7s O]A; *ips; *ric&s and )o% *o forum D at forum.cockos.com.

"3."4 0-D- Edi or 5us o' 0acros

)f you use the )D) 'ditor a lot, then you should find that this is a good area in which to be looking for macros which will speed up your editing and make it simpler. The e+amples below were supplied by ;evosss. They show that a macro doesn7t have to be lengthy and complicated to be useful *#is cus o' ac ion .... <avigate- select ne+t note right with same note value <avigate- move edit cursor to start of selection <avigate- select previous note right with same note value <avigate- move edit cursor to start of selection 'dit- Aelect all &emove selected duplicate events 'dit- ,nselect all Hrid- Aet grid division to % 'dit- )nsert note at edit cursor 'dit- ,nselect all ... does #is This will find the ne+t note with the same value as the current one, select it, and move the edit cursor there. This will find the previous note with the same value as the current one, select it, and move the edit cursor there. This macro removes all duplicate events from the current item. Creates and inserts a semibreve ?or whole noteB. The note duration sets the grid. Thus, you could have eEuivalent actions for any other fraction of a note or multiple of a note available in the actions list.

"3."? -'por ing 3crip s

For more advanced custom programs which go beyond chaining together actions, you can import into &'(P'& custom scripts that you may have written or obtained and which add e+tra functionality to the program. For :indows users, Python will need to have been installed on your computer and &eaAcript enabled on the Plug> ins, &eaAcript page of your Preferences. $therwise, these (ction Mist controls may be dimmed ?see aboveB. The topic of writing scripts is outside the scope of this ,ser Huide, although there is a brief introduction to &eaAcript in Chapter !!. )f you are interested in learning more you should visit the &'(P'& web site, and in particular- www.cockos.com.reaper.sdk.reascript.reascript.php Rea3crip Docu'en a ion can also be opened from &'(P'&7s Kelp, KT M Mists command.

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Up and Running: A REAPER User Guide v 4.30

"3."B Using a 5on ro+ Device %i # REAPER
( control surface such as a ;ehringer ;C&!""" or a <ovation <octurn can be used to control some of &'(P'&7s actions. Iou might also be able to use your pedals and other controls on a )D) keyboard in a similar way. '+amples might include track panning and volume, mute and solo status, arming and starting.stopping recording, and possibly to physically map &'(P'&Fs transport bar for functions such as Play, Atop, Pause, &ewind, etc. $f course, you will need to know the specific characteristics of your particular device, including how to install it, set it up and so on. That is obviously outside the scope of this ,ser Huide. Iou should also be aware that different control devices have different capabilities and different applications. <ot all control surfaces can be used to control all actions, even those that are listed as midi CC capable. $bviously it is also beyond the scope of this user guide to present a detailed analysis and comparison of all these. )n overview, however, they fall into two broad categories Devices which can be recognised by &'(P'& as a specific and individually named control surface. Heneric devices not specifically recognised but which can nonetheless be used as a control surface. )f you have a control device of a type listed in the illustration here, first make yourself familiar with its documentation. <e+t, install the device and its drivers on to your computer in accordance with the manufacturer7s instructions. Iou should then be able to select it on the 5on ro+ 3urfaces page of &'(P'&7s $ptions Preferences settings. $f course, you should consult the manufacturer7s documentation and.or web site for further information. Iou may also be able to find further information on one of &'(P'&7s on>line forums. Choose the Op ions. Preferences command, then select 5on ro+ 3urfaces and click on Add to see a list of available devices ?see rightB. <otice that the list includes an entry for devices which conform to the O35 FOpen 3ound 5on ro+G protocol. )f you are intending to work with such a device, be sure to familiarise yourself with its documentation and characteristics before proceeding. )f you choose this option from the list, the screen that then follows will give you the opportunity to specify a device name and pattern configuration. This includes choices such as MogicTouch or MogicPad, or to tell &'(P'& to write a sample ?defaultB configuration file. This file will contain the default mappings and various appropriate comments. Iou should also supply a port number ?for the transfer of messagesB and )P addresses for both the host and the device itself. Ho to # p:$$%%%.coc&os.co'$reaper$sd&$osc$osc.p#p to learn more about how &'(P'& handles $AC and about &'(P'&7s Default.&eaper$AC file. For other ?non $ACB control devices, even if they are not shown on this list, you might still be able to install and use them if they are capable of emulating one of the devices that is listed ?e.g. K,) or ackie emulationB. Iou should check the manufacturer7s documentation and web sites. ,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. !P!

"3 E 5us o'i=a ion: Ac ions; 0ouse 0odifiers; 0enus and *oo+bars
)n every case, make sure that you choose the options that are correct for your device from the various 5on ro+ 3urface 3e ings options. Ahown below is one e+ample of such settings, with a <ovation <octurn. This sample screen is not intended as a model for you to use with any particular product. Iou might wish to install several devices in this way. For e+ample, you might wish to use both a Frontier (lphaTrack and a Frontier Tran9port. This is perfectly possible, so long as each device is installed correctly. Iou will need to consult the product documentation to ascertain how then your control surface?sB can be used with &'(P'&. )f your device is not on the list of recognised control surfaces and cannot emulate any of the items on that list, you can still use it with &'(P'&. (n e+ample of such a product is the ;ehringer ;C&!""". $nce it has been physically set up and installed on your computer, it will appear on the list of &'(P'&7s )D) Devices. Depending on the actual product and which drivers you are using, it might appear on this list with its own name or merely as a U32 Audio Device. )nstall it as a )D) Device, most likely )nput $nly and in most cases for control messages only. (n e+ample of this is shown here. Iou can double>click on the device name to open the 5onfigure 0-D- -npu dialog bo+. :hat you do ne+t will depend on the device. Iou might also use this method to use your )D) keyboard also as a )D) controller ?depending on whether the keyboard supports this featureB. $nce such a device is installed, you can then assign any action listed as supporting midi CC control to one of the knobs, faders, buttons or rotaries on your control device. The procedure is similar to assigning an action to a key on your PC keyboard. $pen the Ac ions Mist from the &'(P'& menu. Aelect the action, click on Add then instead of pressing a key on the keyboard, tweak the control surface control and click on OI. (n e+ample is shown on the right > in this case we are assigning a rotary control to be used to ad=ust the volume of track %. For further information, including about the various settings, you should consult the documentation supplied with your device, the manufacturer7s web site, or one of the &'(P'& forums.

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Up and Running: A REAPER User Guide v 4.30

"3."> 0e a Ac ions
eta actions are special actions that take your custom action macros a step further, for e+ample to be able to repeat the same macro as many times as is reEuired without you having to keep pressing the same shortcut keys. This techniEue can be useful in an e+ample such as if you need to drop a marker at the start of each verse of a song. :hen you create the macro you don7t know how many times you will need to repeat the actions > some songs might have two or three verses, others five or si+. This is a perfect e+ample of when you might wish to use a meta action. &'(P'& includes two meta action commands(ction- prompt to continue, and (ction- prompt to go to action loop start

E1a'p+e
Take a look at the e+ample on the right. )f you create this custom action macro and assign it a keyboard shortcut ?such as 5 r+ 3#if IB, then you can use it in this way. Aelect any track which is made up of multiple items and position the play cursor at the start of the timeline. Iou can then activate this macro. The cursor will move to the start of the first item in the selected track and drop a marker at that point. Iou will then be asked if you wish to continue ?see illustration belowB.

)f you press En er or click on ,es, the play cursor will move to the start of the ne+t item, insert a marker there, and ask the Euestion again. )f you click on 9o, then the e+ecution of the custom action macro will stop.

,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. !P2

"3 E 5us o'i=a ion: Ac ions; 0ouse 0odifiers; 0enus and *oo+bars
"3."@ 0ouse 0odifiers
:e7ve come across the mouse modifiers page of &'(P'&7s preferences settings several times already. Iou can use this page to change any of &'(P'&7s default mouse modifier controls and also to add more of your own. Aome pointers to keep in mind 0odifier &eys. :indows users can use any of the following modifier keys, in any combination, for any mousewheel action- 3#if , 5 r+, A+ , (in ac users may use any of these modifier keys, in any combination- 3#if , 5o''and, Op ion, 5on ro+ 5on e1 s. The Conte+ts drop down list on the ouse odifiers page of your preferences window lists the conte+ts in which you could use your mouse and for which you could need modifiers ?see rightB. :hen you select an item from this list, current mouse assignments for that conte+t are displayed. For most conte+ts you will find a number of variations, depending upon the e+act kind of mouse action being undertaken. For e+ample, separate mouse modifiers can be applied to media items depending on whether the mouse action being applied is a simple left click ?which by default selects the itemB, left click and drag ?which by default moves the itemB or a double>click ?which by default opens )D) items in the )D) editor, or displays media item properties for audio itemsB. Aome conte+ts ?e.g. (rrange viewB also make middle button mouse actions available. Iou aren7t going to learn all of these at once, and some of them you may never need. For e+ample, if you never do any work with )D) then the various )D) conte+ts are unlikely to be important to you. Take the time to identify those which you are likely to use the most and think about how you can improve them. The procedure for customi9ing &'(P'&7s mouse modifiers is as follows%. Display the 0ouse 0odifiers page of &'(P'&7s Preferences :indow. !. Display the Conte+t drop down list and select an entry from that list. ( list of current modifiers for that conte+t is then shown. (n e+ample of this is shown here, for 0edia i e' edge +ef drag. 1. )n the odifier column, double click on the item that you wish to change. ( list will be displayed which shows suggested actions that you might wish to assign to that modifier. Iou now have a number of choices Aelect any item from that list, or Aelect <o (ction to disable that modifier, or Aelect the item marked with a bullet to restore &'(P'&7s default action for that modifier, or For some items only ?including double>click itemsB, use Ac ion Cis : to open the (ction Mist editor so that you can assign one of &'(P'&7s actions, or one of your own custom actions, to that conte+t. 2. Click on App+y to apply your changes. P. &epeat steps %. to 2. as often as needed. :hen finished, click on OI to close the Preferences window. )f you get into trouble, use the the -'por $E1por button then Res ore 'odifiers o fac ory defau+ s in #is con e1 . This will restore &'(P'&7s original modifiers to this conte+t. The e+amples that follow have been selected to help you to understand how &'(P'&7s mouse modifiers work and how you can benefit from using them. Don7t be concerned if not all of the actual e+amples themselves mean a lot to you right now- try to stay focused on the techniEue. Met7s suppose that there are certain editing For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' !PP

Up and Running: A REAPER User Guide v 4.30

and other activities that you use a lot in &'(P'&. Met7s also suppose that these include the following Creating empty )D) items on tracks. Toggling mute status of media items. Alip editing media items. Aetting and removing loop points. (dding F8 to media items. That7s ?intentionallyB a fairly mi+ed bag of activities. (ll of these are e+amples of activities that can be made easier and.or faster and.or smarter by modifying &'(P'&7s mouse modifiers.

E1a'p+es
This e+ercise will step you thru the above e+amples in the same order as they are listed. %. Choose the Op ions, Preferences command, then select the page 0ouse 0odifiers. !. Aelect *rac& +ef drag from the conte+t menu. &'(P'&7s default mouse assignments for pencil drawing copies of items will be shown. <otice that A+ and 3#if A+ are currently unassigned. 1. Double click on the word A+ in the odifier column. ( list of possible suggested actions will be shown. 2. )n this list, click on Dra% an e'p y 0-D- i e'. This action is now assigned. The small dot shown ne+t to this (ction on the list indicates that this is a custom change that you have made yourself. P. Click on App+y to apply the action. N. <ow select 0edia i e' edge drag from the conte+t list. Met7s suppose that we want to make 0ove i e' edge ignoring snap the new default behavior when clicking and dragging from the media item edge. #. Double click on Defau+ ac ion and select 0ove i e' edge ignoring snap from the menu. <ow double click on the modifier 3#if and select 0ove i e' edge from the menu. 3. Click on App+y. These two items have now been swapped over. Q. <ow select 0edia i e' doub+eEc+ic& from the conte+t drop down list. odifiers for this conte+t will now be displayed. Auppose that we want to create an action which can be used to open the item7s F8 chain window, and that we wish to assign 3#if 5 r+ for this. %". Double>click on the te+t 3#if K5 r+ to display a menu. Click on Ac ion Cis : to open the (ction Mist 'ditor. )f you have worked thru the earlier e+amples in this chapter, this will be familiar* Find the action 3#o% F4 c#ain for i e' a&e and select it. Click on 3e+ec $5+ose to return to the ouse odifiers window. Click on App+y. This action is now your media Ahift Ctrl double>click action ?see belowB. %%. &epeat this procedure to apply the action - e' proper ies: *ogg+e i e's 'u e to the modifier 3#if K(in. Click on App+y. %!. Finally, we can add an action to the Ru+er doub+eEc+ic& conte+t so that the 3#if modifier will remove any current loop points. %1. Aelect Ru+er doub+eEc+ic& from the conte+t drop down list. Double click on 3#if in the modifier column and select Ac ion Cis ... from the menu. Find the action Coop Poin s: Re'ove +oop poin s, select it then click on 3e+ec $5+ose and then App+y. ,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. !PN

"3 E 5us o'i=a ion: Ac ions; 0ouse 0odifiers; 0enus and *oo+bars
%2. Close the Preferences window. )f you do not wish to keep these assignments, use the -'por $E1por button to restore factory defaults. Re'e'ber. :hen you are assigning actions to mouse modifier keys you are not limited to using &'(P'&7s native actions. Provided that you have installed the A:A e+tensions you can use any of the A:A actions. Iou can also use any custom actions that you have created yourself. 9o e- :hen you select a mouse modifier conte+t, in some cases an option relevant to that specific conte+t will be displayed =ust below the list of behaviors. Mook out for these. For e+ample, for both the Track and edia items conte+ts you can specify whether the item label area ?above the media itemB should be regarded as part of the media item or as empty space. *ip for O3 4 Users: <e+t to the )mport.'+port button you will find a 3%ap c'd$op button. This can be used to swap over all 5'd button and all Op button assignments for the currently selected mouse modifier conte+t,

"3."A 3aving and Res oring 0ouse 0odifier 3e ings

ouse modifier settings can be saved to and restored ?loadedB from &'(P'& mouse map files using the )mport.'+port button. Aettings can be saved.restored for the current conte+t only, or for all conte+ts ?see rightB.

"3.!0 0-D- Edi or 0ouse 0odifiers

,sing mouse modifiers in the )D) 'ditor is a topic that merits a section of its own. <owhere is this more true than when you are editing )D) notes and CC events. ( large number of actions are available for use in the 0-D- no e +ef c+ic&$drag conte+t ?see rightB. )f you use the )D) 'ditor a lot then you should definitely take some time to investigate and to identify which of these actions are most useful to you. For e+ample, you could reassign 3#if A+ to be used when clicking on any note to erase it. &emember that all actions in &'(P'&7s (ction Mist )D) 'ditor and )D) 'vent Mist 'ditor categories ?including any custom actions of your ownB are available to be assigned as a mouse double>click modifier in most conte+ts within the )D) 'ditor. )D) 'ditor mouse modifier conte+ts include0-D- no e +ef c+ic&$drag 0-D- no e doub+e c+ic& 0-D- no e edge +ef c+ic&$drag 0-D- no e doub+e c+ic& 0-D- 55 even +ef c+ic&$drag 0-D- 55 +ane +ef drag 0-D- 55 even doub+eEc+ic& 0-D- 55 +ane doub+eEc+ic& 0-D- ru+er +ef c+ic& 0-D- ru+er +ef drag 0-D- ru+er doub+eEc+ic& 0-D- piano ro++ +ef c+ic&$drag, 0-Dpiano ro++ doub+eEc+ic&, and 0-D- edi or rig# drag.

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Up and Running: A REAPER User Guide v 4.30

"3.!" 5us o'i=ing #e REAPER 0enus
Iou can customi9e &'(P'&7s main menu and many conte+t menus in a number of ways, including &emoving from view commands that you never use. Changing the order in which commands are listed. (dding your own custom actions to an e+isting menu.

To open and display the 5us o' 0enu interface, choose from the main menu the command Op ions; 5us o'i=e 0enus$*oo+bars. This causes the Customi9e menus.toolbar window to be displayed. ;y default, it will open with the ain File menu displayed. The table below summari9es the main tasks that can be carried out within this window. The ] sign displayed before any letter indicates that when the menu is displayed, that letter can be typed to select that command. $n the menu itself, the letter will appear underscored. Thus, in the e+ample shown above, when you display &'(P'&7s main file menu, the letter 9 in 9e% pro6ec ... will appear underscored, and you can therefore type 9 to select this command. -n order o do #is ... 3e+ec a 'enu for cus o'i=a ion 5#ange #e na'e of a curren +y se+ec ed 'ain 'enu co''and Re'ove a co''and fro' #e curren +y se+ec ed cus o' 'enu : you need o do #is. Display the drop down list ?top left of windowB and select the reEuired menu. Aelect the command. Click on the Re i +e... button. Type the new name and press En er Aelect the command in the left hand column ?click onceB. &ight>click and choose Re'ove from the menu, or click on the Re'ove button located below the customi9ed menu pane. 'ither : in the left column, drag and drop the command up or down to its reEuired position. $r G in the left column select the command that you wish to move. Press 5 r+ 4. Click at the position where you wish the command to be placed. Press 5 r+ V.

5#ange #e posi ion of a co''and on #e cus o' 'enu

,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. !P3

"3 E 5us o'i=a ion: Ac ions; 0ouse 0odifiers; 0enus and *oo+bars
-n order o do #is ... 5opy a co''and fro' one 'ain +eve+ 'enu o ano #er : you need o do #is. Aelect the first main menu from the menus drop down list. Aelect the reEuired command and press 5 r+ 5. Aelect the second main menu from the menus drop down list. Click at the reEuired position in the customi9ed window ?leftB pane and press 5 r+ V. Add a REAPER ac ion or a cus o' ac ion o #e curren cus o' 'enu as a ne% co''and )n the left column, click to select the e+isting command above which you wish to insert your custom action. Click on the Add button, then choose Ac ion from the menu. Aelect your item from the list then click on the 3e+ec button. )n the left column, select the command, click on Rena'e, then type the new name and press En er. )n the left column, click to select the e+isting command above which you wish to insert the separator. Click on the Add button, then choose 3epara or from the menu. )n the left column, click to select the e+isting command above which you wish to insert the label. Click on the Add button, then choose Cabe+ from the menu. )n the left column, click at the position you want the submenu inserted. Click the Add button, then on 3ub'enu. Type a name then press En er. Click on the 3ave button. Click the Rese button, then choose either Rese 5urren 0enu or Rese A++ 0enus. Click on E1por ... , choose E1por A++ or E1por 5urren , then type a name and click on 3ave. Click on -'por ... then select the reEuired menu set file, then click on Open. Iou can also drag and drop .&eaper enu and .&eaper enuAet files into &'(P'& from :indows '+plorer. Tick the -nc+ude defau+ 'enu as sub'enu option ?top right of windowB. This is recommended especially if you are removing any default commands from the menu.

Rena'e a co''and on #e cus o' 'enu Add a separa or o #e curren cus o' 'enu Add a +abe+ o #e curren cus o' 'enu Add a sub'enu o #e curren cus o' 'enu 3ave c#anges 'ade o #e curren cus o' 'enu Res ore #e one or a++ cus o' 'enus o #e defau+ se ings E1por #e curren cus o' 'enu or a++ 'enus as a Reaper0enu3e Rep+ace #e curren cus o' 'enu or a++ 'enus %i # a previous+y saved Reaper 0enu 3e -nc+ude REAPER8s defau+ 'enus %i # your cus o' 'enus

E1a'p+e
)n this e+ample you will learn how to add an action to a &'(P'& menu as a new command, and how to remove an unwanted command. Iou7ll also change the order of some commands. (s with many other e+ercises in this ,ser Huide your main focus should not be on the e+ample itself but more on the techniEue. Auppose that you do a lot of work with markers, and that you would like to renumber markers in timeline order Euickly and easily without having to remember a keyboard shortcut. Iou could add the action to the &uler conte+t menu. :hile you7re about it, you can also remove the command -nser e'p y space in se+ec ion ?assuming for the sake of the e+ample that you think you do not need this commandB. Follow these instructions.

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Up and Running: A REAPER User Guide v 4.30

E1a'p+e
%. !. 1. 2. P. From &'(P'&7s Op ions menu, open the 5us o'i=e 'enus$ oo+bars window. Display the drop down menu list and choose Ru+er$arrange con e1 . Click on any one of the commands in this menu D for e+ample 3e se+ec ion o i e's. Click on the Add... button, then choose Ac ion... This causes the (ctions Mist 'ditor window to be opened. )n the filter bo+ type- 'ar& renu' D this should find the action 0ar&ers: Renu'ber a++ 'ar&ers in i'e+ine order. Aelect this action then click on 3e+ec $c+ose. The (ctions window will close and you will be returned to the Customi9e menus.toolbars window. This action has now been added to the menu and is selected ?see rightB. :ith the item still selected, click on Rena'e... Iou will be prompted for a new name. Type- Renu'ber 'ar&ers and press En er. To move this up the menu, drag and drop it above Poo' se+ec ion.

N.

#. 3. Q.

%". <ow select the item ?lower down the listB -nser e'p y space in se+ec ion. Click on Re'ove to remove this from the menu. %%. ake sure you have enabled the option -nc+ude defau+ 'enu as sub'enu.

%!. Click on 3ave then 5+ose. %1. Create some markers in this pro=ect, out of timeline order. %2. <ow right>click over the ruler.timeline ?see rightB. Choose Renu'ber 'ar&ers from the menu- your markers will be renumbered. %P. <otice at the bottom of this conte+t menu the item Defau+ 'enu: Ru+er$arrange con e1 . This can be used to access the original conte+t menu. %N. )f you wish to restore this menu to its original state, open the 5us o'i=e 'enus$ oo+bars window again and with the Ru+er$arrange con e1 still selected, click on Rese then Rese curren 'enu$ oo+bar o defau+ . Click on 3ave then 5+ose.

"3.!! 5us o'i=ing #e REAPER *oo+bars

Customi9ing &'(P'&7s main toolbars ?including the )D) 'ditor toolbarsB can make it easier to make &'(P'& work for you to work the way that you would like it to. For e+ample, you can &emove any of the default icons.commands that you do not wish to be shown. (ssign a different &'(P'& command or action to any e+isting icon. (ssign a different &'(P'& command or action to a new icon. (ssign a custom action or macro of your own to a new or e+isting icon.

The procedure is similar to that used for menu customi9ation. ake your changes to the e+isting default toolbar layout thru the 5us o'i=e 'enus$ oo+bars dialog bo+. This can be displayed by right>clicking over the empty area of the toolbar background, or by choosing 5us o'i=e 'enus$ oo+bars from the Op ions menu. :hen the Customi9e menus.toolbars window is displayed, choose 0ain *oo+bar or one of the 0-D- Vie% toolbars from the drop down list in the top left corner. :e7ll get to F+oa ing oo+bars a little later in this chapter. ,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. !N"

"3 E 5us o'i=a ion: Ac ions; 0ouse 0odifiers; 0enus and *oo+bars

The table below summari9es the main tasks that can be carried out within this window. (fter the table there is an e+ample in which you can add to the toolbar an item of your own. Purely as an e+ample, we7ll use the action Vie%: *ogg+e 'as er rac& visib+e for this.

-n order o do #is ... Re'ove an i e' fro' #e oo+bar

: you need o do #is. Click on either the item name in the left panel, or on the icon itself in the display =ust above the window7s command buttons. )n the e+ample shown, 'nable etronome has been selected. Click on the Re'ove button. )n the customi9e toolbar area ?left panelB select the item before which you wish to add your item. Click on the Add button. This causes the (ctions window to be displayed. From the list of actions, select the &'(P'& command, action or custom script or action. Click on 3e+ec $5+ose. &'(P'& will add this to your toolbar and assign an icon.

Add a ne% ac ion or co''and o #e oo+bar

*o add a separa or space be %een %o oo+bar i e's *o c#ange #e icon used for any oo+bar i e' Finc+uding an i e' #a you #ave addedG

)n the customi9ed toolbar area, right>click over the second of these items and choose Add separa or from the menu. &ight click over the icon in the icon display near the bottom of the Customi9e enus.Toolbars window, =ust above the command buttons. This causes the 3e+ec oo+bar icon window to be displayed. Aelect your reEuired icon then close the Aelect toolbar icon window. )n the customi9e toolbar area ?left panelB select the item that you wish to change. &ight click, choose 5#ange ac ion, then select from the action list and click on 3e+ec $5+ose. &ight click over the item in the customi9ed toolbar list in the left panel. Choose *e1 -con from the menu, type the te+t then click OI. ,se the mouse to drag and drop up or down the list shown in the customi9ed toolbar list. Ctrl 8 . Ctrl O may also be used, as can Cut and Paste from the right click conte+t menu.

5#ange #e ac ion assigned o a oo+bar bu on Rep+ace a oo+bar icon %i # e1

5#ange #e posi ion of an i e' on #e oo+bar

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Up and Running: A REAPER User Guide v 4.30

-n order o do #is ... 5+ose #e 5us o'i=e 0enus$*oo+bar (indo% %i #ou saving your c#anges 3ave #e oo+bar %i # your c#anges Res ore #e oo+bar o i s defau+ s a us : you need o do #is. Click on the 5+ose button. Choose 9o when asked if you wish to save your changes. Click on the 3ave button. Click the Rese button. Choose Rese 5urren 0enu$ *oo+bars o Defau+ s from the menu. Aelect ,es to confirm7 E1por #e curren cus o' oo+bar or a++ oo+bars$'enus as a Reaper0enu3e Rep+ace #e curren cus o' oo+bar or a++ oo+bars$'enus %i # a previous+y saved Reaper 0enu 3e Click on E1por ... , choose E1por A++ or E1por 5urren , then type a name and click on 3ave ?see also note belowB. Click on -'por ... then select the reEuired menu set file, then click on Open.?see also note belowB

9o e- &eaper enuAets can also be included when e+porting.importing &'(P'& configuration preferences and settings D see Chapter %Q.

E1a'p+e
The real benefit of this e+ercise will come from it teaching you a techniEue, not from the actual e+ample. %. &ight>click over the toolbar area ?but not any specific toolB and choose cus o'i=e oo+bars... from the conte+t menu. !. Click on the last item on the toolbar ?'nable lockingB then click on Add... to open the (ctions Mist. 1. Find the action Vie%: *ogg+e 'as er rac& visib+e. Aelect this, then click on 3e+ec $c+ose. This item will now be added to the list of toolbar items. )n the icon display, it will be labelled something like 4Tog ast5. 2. Drag this item up or down the list to whatever position you want it to take. P. )f you do not like the te+t *og 0as you can right>click over the item in the list and choose either 5#ange icon ?to select an iconB or *e1 icon ?to type a different te+t labelB. )f you choose e1 icon, you may also select a Doub+e %id # oo+bar bu on option for better te+t display. N. Click 3ave and then 5+ose. )f you don7t want to keep this icon, access the customi9e menus.toolbars window again and simply remove it. *ip: The command Posi ion oo+bar can be used to change the position of or float the main toolbar- see section immediately below this one.

,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. !N!

"3 E 5us o'i=a ion: Ac ions; 0ouse 0odifiers; 0enus and *oo+bars
"3.!3 5rea ing Addi iona+ 5us o' *oo+bars
&'(P'& can display up to eight general, four )D) only and one )D) piano roll only additional toolbars that you can customi9e to suit your particular reEuirements. ;y selecting which items are added to these toolbars you are able create one click access to your most important commands and actions. To toggle the display of any floating toolbar, right>click over the empty area of your main toolbar and choose the Open oo+bar co''and, then select a toolbar. Iou may display as few or as many of these toolbars as you wish. ;y default, each toolbar contains one icon, labelled 4'dit e5. To change this, you will need to customi9e the toolbar ?see belowB. 'ach toolbar window can be dragged, resi9ed and positioned anywhere on your screen. )t can also be kept on top ?using the pin symbolB. &ight click over the empty area of any custom toolbar to again display the menu shown ?rightB. This offers the following main options3%i c# oo+bar- selects another toolbar to display in its place. Open oo+bar- use this to open another toolbar. Posi ion oo+bar- used to dock the toolbar at the main toolbar, at the top of the main window, in the toolbar docker, or to float. 5us o'i=e oo+bars- use this to open the 5us o'i=e 'enus$ oo+bars window to enable you to customi9e the contents of any of the toolbars. ;y default, the currently displayed toolbar will be selected for editing. Iou can add commands to each or any of these toolbars as you wish. To select a different toolbar for editing after opening the 5us o'i=e 'enus$ oo+bars window, display the drop down list from the top left corner of the Customi9e menus.toolbars window. The following table summari9es the main editing options. -n order o do #is ... 5#ange #e na'e of any abbed oo+bar Add an ac ion or co''and o a cus o' oo+bar *o edi a cus o' oo+bar bu on +abe+ *o assign an icon ins ead of e1 o a cus o' oo+bar bu on *o re'ove an i e' fro' a cus o' oo+bar *o c#ange #e order of icons on a cus o' oo+bar *o save a cus o' oo+bar se *o e1por a cus o' oo+bar se *o i'por a oo+bar se *o doc&$undoc& #e f+oa ing oo+bar : you need o do #is. Aelect toolbar in the Customi9e enus.Toolbars window, click on Re i +e... then type the new name then click on OI. Click on Add... to display the (ctions Mist. Aelect the command or action and click on 3e+ec . &ight click over the item in the customi9ed toolbar panel ?leftB and choose *e1 -con... Type the te+t then click OI. &ight click over the item in the customi9ed toolbar panel ?leftB and choose 5#ange -con... Aelect the reEuired icon from those displayed, then close the 3e+ec *oo+bar -con window. Aelect the item in the Customi9ed Toolbar ?leftB panel and click on Re'ove. Drag and drop items up or down the list displayed in the customi9ed toolbar ?leftB panel. Click on the 3ave button in the Customi9e enus.Toolbars window.

,se the E1por ... button and choose E1por curren 'enu$ oo+bar o : Type a name and click on 3ave. ,se the -'por ... button, select the file name, click on Open. &ight click on floating toolbar, choose Doc& f+oa ing oo+bar then select one of the three options.

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Up and Running: A REAPER User Guide v 4.30

Ahown here is an e+ample of custom toolbars, used to give easy access to various track and windows screen sets. Met7s see how this was done.

E1a'p+e
%. :ith the 5us o'i=e 'enus$ oo+bars window open select F+oa ing oo+bar ". !. Click on Re i +e... and type 3creen 3e s. Press En er. 1. ,se the Add... button to open the (ctions Mist window. Aelect 3creense : Coad %indo% se Z04, then click on 3e+ec . 2. :ith the (ctions Mist window still open, select the action 3creense : Coad %indo% se Z03 and again click on 3e+ec . P. &epeat step 2 several times to select the other actions reEuired for this toolbar.. N. Aelect the action 3creense : Coad rac& vie% Z0" then click on 3e+ec $c+ose. #. )f necessary, drag and drop any of these items up or down the list to put them in your preferred order. 3. )f necessary, remove any unwanted items on this toolbar. Q. &ight>click over each item in turn and choose the *e1 icon command. 'nter a label, such as *rac& 3e " and enable the option Doub+e %id # oo+bar bu on. %". 3ave and 5+ose the 5us o'i=e 'enus$ oo+bars %indo% when finished. This e+ercise has shown you how to create a custom toolbar. $nly you can decide, however, when you should create them. ,se them for those activities that you use the most. For e+ample, if you find yourself getting frustrated when navigating and 9ooming, then make a 9oom.navigate toolbar. )f you spend a lot of time editing media items, make an item edit toolbar. )n Chapter %N you7ll find a custom toolbar for working with envelopes.

"3.!4 5rea ing 3'ar *oo+s

)f you have used other D(: software ?such as Cubase, Pro Tools or AonarB before coming to &'(P'&, then you may be used to using a toolbar to help with various editing tasks, such as splitting, deleting or muting items. Iou have already seen that this method of working is not native to &'(P'&. Kowever, if you wish, you can create your own smart tools which can be used in a way similar to that with which you are familiar. The (ctions Mist includes a number of actions suitable for this sort of treatment. These include actions like - e': 3p+i - e' Under 0ouse 5ursor . )n addition, you may also have created some custom actions of your own, for e+ample to select and mute or delete items. :ithout arming, any tool which makes reference to the mouse cursor, for e+ample, would otherwise be useless D because the mouse cursor will be over the toolbar, not any media item, when the tool is clicked* ;y using smart tools we solve this problem. To create a Amart Tool for any action or custom action, you first need to assign the action or custom to the toolbar, as e+plained in the section before this one. )n this e+ample, we have created a button to 3p+i - e' Under 0ouse 5ursor. Then, to use it as a smart tool, simply do this%. &ight click over the tool. )f you hover the mouse there long enough, a tool tip will be displayed. ove the mouse over any media item and it will change to a letter A. !. Meft click on ?in this e+ampleB the item to which you want the action applied, at the e+act position that you want the action to occur. )n this case, the item beneath the mouse cursor will be split. $nce a tool is armed it will remain armed until you 4unarm5 it. To do this, either right click on the armed tool. or press 'sc immediately after using it. *ip: ( floating toolbar can be si9ed ?made larger or smallerB by dragging its lower right hand corner in or out D look for the small dotted triangular area. )f you want to restrict =ust how large the icons may become when you do this, enable the option Don7t scale toolbar buttons above %-% on the (ppearance page of your preferences window. There is also an option Don7t scale toolbar buttons below %-%.

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"4 E REAPER P+ugEins in Ac ion "4 REAPER P+ugEins in Ac ion

"4." (#a Are P+ugEinsU

ThereFs a wonderful assortment of plug>ins supplied with &'(P'& > over !"" of them* These include the Sesusonic and the OAT &ea plug>ins from Cockos. )n this section we will be introducing you to a selection of these. :e will only be covering the very basics, =ust to give you a feel for what plug>ins are and how they work. ;eyond this, you can e+plore for yourself. Plug>ins are pieces of software that are used to control and shape the sound generated when you play back the media items in your tracks. Aome simple e+amples of when and why you might want to use a plug>in are To make a vocal recording sound nicer, more lifelike. Perhaps your dry recording sounds a bit thin, even verging on feeble in places. Plug>ins can add body, warmth and sparkle to such a track, not by working magic, but by finding where those Eualities are buried in the recording and bringing them out. To smooth off peaks and dips in the volume of a track, making the overall track sound more even. To add a 4live5 feel to a track or even a whole mi+, making it sound more as if it were recorded in a church or a concert hall, rather than in a boring old studio.

"4.!

*#e *#ree Ca%s of P+ugEins

;efore you start using plug>ins, study and memorise this mantra. There are no e+ceptions to these laws* %. )t is better not to use a plug>in at all than to use it badly. ( badly used plug>in is likely to make your mi+ sound worse, not better. )f in doubt, underdo the use of plug>ins, donFt overdo them. !. <ever =udge the Euality of a plug>in by how much you like its presets. Presets reflect someone elseFs idea of how something ought to sound, not the Euality of the plug>in, nor its potential. Iou will almost certainly never learn how to get the best out of any plug>ins, be they 'C, compression, reverb or anything else unless you take the trouble to understand their various parameters. (nd that takes time. 1. Iou canFt =udge the Euality of a plug>in by its cost. <o, really you canFt. Aome plug>ins are free. Aome cost literally thousands of dollars. Aome free ones are pretty awful, some are great. Aome plug>ins costing hundreds of dollars are, to be polite, very, very ordinary. $thers are e+cellent.

"4.3

*#e Five *ypes of P+ugEin

'specially when you are new to digital audio, when you start to e+plore the world of plug>ins you might find yourself feeling overwhelmed, if not utterly confused. :hy/ ;ecause there is so much choice. Keaven help me, have ) really got to understand all that lot to be able to use this recording caper/ <o, you donFt. Mearn in steps as you go. )n essence there are essentially five types of plug>in ?well, thereFs a ma=or e+ception to that, which )Fll get to shortlyB. These five types are 3ound 3#aping- these plug>ins affect the freEuency ?pitchB of your track?sB. (n e+ample is 'C. *i'eE2ased Effec s- these plug>ins manipulate how your track?sB interact with time. '+amples include Delay, Chorus and &everb. Vo+u'e 5#anging- these are plug>ins that determine the overall volume or perceived volume of your track?sB. '+amples are Compressors and Mimiters. Rou ing P+ugEins- these do not shape the sound of your tracks as such, but are used for tasks such as routing. &outing is generally beyond the scope of this chapter- we7ll get to it in Chapter %P. Ana+y ica+ P+ugEins- these display information, but don7t in any way alter the sound of the track. (nd that e+ception/ :ell, some plug>ins can cut across more than one of these categories at the same time, performing more than one =ob. $ne e+ample of this is a ultiband Compressor, which displays the characteristics of both an 'C and a Compressor. )t would be way beyond the scope of this ,ser Huide to teach you the science between these various plug>ins D that would reEuire an entire volume in itself* $ur ob=ective is to give you an introduction to what &'(P'& offers in this area, and to show you how &'(P'&7s own interface is used to control them.

For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' !NP

Up and Running: A REAPER User Guide v 4.30

"4.4 Ad6us ing P+ugEin Para'e er 5on ro+s

Plug>in faders can be ad=usted using any of four main methods. These are Kover your mouse over the fader and scroll the mousewheel. ,se 5 r+ for finer ad=ustments. Click on a fader and drag the mouse. Kold the 5 r+ key for finer ad=ustments. Kold A+ for 4elastic5 auditioning- the control will return to its original position when the mouse is released. Click on the fader then use the Up and Do%n arrow keys. Click in the parameter value window ?in the first e+ample show below, you can see one of these to the immediate right of each of the three hori9ontal fadersB and type a value. )f you prefer not to use the first of these methods ?for fear of making accidental ad=ustmentsB, you can enable on the 'diting ;ehavior, ouse page of your Preferences the option -gnore 'ouse%#ee+ on a++ faders.

"4.?

3ound 3#aping Effec s: ReaEO

any sound shaping plug>ins fall ?in one way or anotherB into the 'C category. 'C means 4eEualisation.5 This is rather strange, since they are used to emphasise ?or de>emphasiseB selected freEuencies. Perhaps they should be called 4,n'C5* &ea'C is the main 'C plug>in supplied with &eaper. There are also several SA 'C plug>ins but &ea'C is the most powerful and fle+ible. Met7s take an e+ample. %. $pen the supplied pro=ect file A++ *#roug# *#e 9ig# .RPP and save it as A++ *#roug# *#e 9ig# EO.RPP !. This e+ample uses only the vocal track, which is an e+cellent tool for demonstrating 'C. 3o+o the Vo1 track. 1. Display the F4 %indo%, click on Add and add 5oc&os V3*: ReaEO. <otice that by default this has 2 band tabs ?numbered % to 2B. 2. Play the song. (s you do so, select 2and 4 and fade the Gain left to about D 1P d;. <otice how deep the voice becomes. Double click on the fader to return it to the centre. P. Aelect 2and !. Fade the Hain down to about D %2 d;. <otice how tinny and even disembodied the voice sounds. Double>click to return to normal. <ow lift the Hain to about V1 d;. The voice should sound Euite pleasantly fuller and warmer. Aelect ;and 1 and set the FreEuency to about 2!"". $bserve what happens as the gain is ad=usted between V1.P and >1.P. :hen finished, return it to ".". Aave the file. :hat has been happening is that you have been ad=usting freEuencies This is a huge sub=ect. )t is way beyond the scope of this guide to teach everything there is to know about 'C, but here is a brief introduction. '+actly how you divide up the freEuency spectrum is to some e+tent arbitrary. KereFs one way that makes senseFreJuencies "B o B0 )= B0 o !?0 )= 5o''en s Very Co% 2ass. These freEuencies are felt rather than heard. 2ass. Kerein dwell the fundamental notes of the rhythm section. ( modest boost here can help make a sound fuller, but too much gain will make it boomy. ,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. !NN

"4 E REAPER P+ugEins in Ac ion

FreJuencies !?0 o !000 )= !000 o 4000 )= 4000 o B000 )= 5o''en s *#e 0id Range. Too much gain here makes it sound like youFve recorded from the other end of a telephone. )f a take sounds muddy, try cutting it here. Upper 0id Range. $ften a tricky area. Too much can cause listening fatigue. Mower this range a tad on the mi+ while boosting a tad on vocals can help a vocal stand out. Presence Range. This is the key range for clarity and presence of instruments and vocals. Aome gain here will bring the instrument or voice forward in the mi+. ( drop here can pull a vocal or an instrument back. )ig# Range. This is where you find clarity and sparkle. Too much gain here produces a searing, glassy effect. <ot enough will sound dull ands 4heavy5.

B000 o "B000 )=

Ao ... we know that the freEuency is measured is measured in K9 ?and kK9B, and that we can increase or decrease the volume at any level, to shape the sound. The sound level itself is measured in decibels. :e need to understand two more terms D first, band width. &ea'C measures bandwidth in octaves. ( narrow bandwidth setting means that you will raise or lower the sound over a very small part of the spectrum relative to your selected freEuency. ( wide setting means that you will be working on a much wider part of the spectrum. (n e+ample of the difference in how a narrow bandwidth ?topB and a wide bandwidth ?bottomB can shape a sound is shown here. Iou will also see, if you display the drop down list labelled *ype that there are several type of band. Aome of the most commonly used are2and: the volume is raised or lowered either side of the freEuency, the range being determined by the bandwidth setting. Aometimes called a 4peaking filter.5 Co%$)ig# Pass- Filters out freEuencies above.below the freEuency setting. Co%$)ig# 3#e+f- Causes the gain to be lowered or raised below.above the freEuency setting. Pass and 3#e+f will in most cases only be used ?if at allB at very low freEuencies or very high freEuencies. Iou can add or remove bands using the (dd band and &emove band buttons. *ip: DonFt forget that you can create track parameter controls and.or automation envelopes for this or any other plug>in by clicking on the Para' button in the plug>in window D as e+plained in Chapter %".

"4.B

*i'e 2ased Effec s: De+ay

These include reverb, delay and chorus. Aound takes time to travel thru any distance, and surfaces like walls and ceilings create reflections which make the sound patterns even more comple+, intricate D and alive. Time based F8 use a number of tricks and techniEues to artificially simulate this, thereby creating a more 4live5 sound. ;ut be careful. Too much here can ruin an otherwise good sound. Para'e er De+ay F'sG Descrip ion Determines the amount of time that passes between the original sound and when the delayed sound is heard.

For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' !N#

Up and Running: A REAPER User Guide v 4.30

Para'e er Feedbac& 0i1 in Fd2G Ou pu %e Fd2 Ou pu dry Fd2G Descrip ion Determines the amount of the delayed signal that will be fed back into the delay itself. This helps to prevent the delay from =ust being an echo. Determines the overall output level. Determines the $utput level of the Post F8 signal. Mowering this relative to the dry output will make the effect more subtle. Determines the $utput level of the Pre F8 signal

)n this e+ample, we will use the /3: De+ay$De+ay to add a touch of delay to the ;ou9ouki. E1a'p+e %. ,nsolo your Oo+ track and solo the track ;ou9ouki. $pen its F8 :indow and add the SA-Delay.delay. !. Play the song. '+periment with ad=usting the F8 parameters until you have found an effect to your liking. For very small delay settings, such as ".! ms, it is easier to type them in the bo+ than to use the faders. 1. ,nsolo the track, then continue to make any further ad=ustments until you are satisfied with the results. 2. Aave the file. 9o e- The plug>in ReaDe+ay is a more powerful alternative to SA Delay. )n particular, it allows you to create multiple delay taps, each with its own delay settings, and to pan each of these individually.

"4.>

Vo+u'e 5#anging P+ugEins: #e Ci'i er

)n this ne+t e+ample, we will look at an e+ample of one volume changing effect, the SA-M$A'&-masterMimiter. This can be added to the F8 :indow for your (AT'& to perform two functions. These may at first appear to be contradictory, but they are not To raise the overall volume of the mi+, but at the same time G To prevent the mi+ from 4clipping5, i.e. getting too loud at any point. :e will be using the /3:Coser$'as erCi'i er which includes the following controls and parametersPara'e er *#res#o+d Descrip ion Determines the level at which the other limiter settings will be applied. )t may seem parado+ical, but the lower the threshold, the higher will be the perceived overall volume. (s you lower the threshold, more of the song is lifted to the limit specified. Determines how far ahead the limiter looks D this helps smooth out sudden peaks. Determines how Euickly the limiter kicks in as the signal increases. Determines how Euickly the limiter recovers after a peak is encountered. This determines the ma+imum volume that cannot be e+ceeded.

Coo& A#ead A ac& Re+ease Ci'i

E1a'p+e
%. Display the F8 :indow for your (AT'& and insert the /3: CO3ER $'as erCi'i er. !. Play the song, ad=usting the controls. 1. (s you lower the Threshold, the volume will get louder, but the ma+imum ?limitB volume is never e+ceeded. 2. (s you lower the Mimit, the song gets Euieter.

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"4 E REAPER P+ugEins in Ac ion

P. The more you lower both Threshold and Mimit, the more you sEuee9e the dynamics out of the song D volume remains almost constant, and there is little or no movement in the O,. The trick to using a limiter well is to smooth out peaks and dips somewhat, but without adversely affecting the dynamics of the song. (nd, especially at first, be gentle*

"4.@

Ana+y ica+ P+ugEins: #e GF4Ana+y=er

Ahown on the right is a /3: Ana+ysis GF4Ana+y=er plug>in. )nsert this into any track7s F8 chain ?or the master7s F8 chain and as the pro=ect is played you are given visual feedback as to the level of output at different freEuencies. This can sometimes help, for e+ample, in identifying which freEuencies might need attention. Three of the Cockos plug>ins D &ea'C, &eaFir and &ea8Comp > all include an analytical display similar to that shown here as part of their standard interface. <ow that you7ve had a look some e+amples of different types of plug>in. :e can go on and e+amine some more. First, though, another word or two about presets ...

"4.A

Using F4 Prese s

:hen you are satisfied with your settings for any plug>in, you might wish to save them as a preset, so that you can apply them ne+t time you want to use it on another track%. !. 1. Click on the K button =ust above the SA Delay.delay plug>in when this plug>in is selected. Choose 3ave prese from the menu. Type a name and click on OI.

To save these as default parameter settings for the plug>in when it is used in the future, use the 3ave prese as defau+ ... command from the same menu. To import an e+isting preset library ?such as you might be able to download from the &'(P'& web siteB you would choose -'por prese +ibrary:. To e+port your presets to a file ?for backup purposes, or to use on another computerB you would choose E1por prese +ibrary ... *o c#oose an e1is ing prese ?from those you have previously saved or imported, or which were supplied with the plug>inB, simply insert the plug>in into that trackFs F8 window, display the drop down list of presets ?see leftB, then select the one that you want.

For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' !NQ

Up and Running: A REAPER User Guide v 4.30

:ithin the F8 ;rowser, the Op ions; 3#o% defau+ F4 prese s can be used to list any default preset in the browser window alongside the plug>in name. Iou can then double>click on the preset name to select a different default preset for that plug>in if you wish ?see rightB

"4."0 *i'e 2ased Effec s: ReaVerb

&eaOerb is a OAT plug>in that is supplied with &'(P'&. &everb itself is a time>based effect, and &eaOerb uses a type of reverb known as convo+u ion reverb to create the illusion of space. This section will introduce you to the basics of using &eaOerb. (fter that, it has more features that you can e+plore for yourself. ost reverbs are an artificial attempt to recreate the effect that the acoustic environment of, say, a hall or a room would have on sound. Kowever, the mathematical process reEuired for this is highly comple+, so that very few come close to sounding like real acoustic rooms. The characteristics of reverb plug>ins vary enormously, not only in their essential Euality but also in the scope of their applications. :ith convolution reverb, we are able to get realistic reverb without breaking the bank. )t uses impulse responses of real acoustic spaces. This is made possible by generating a signal in the reEuired environment and then recording the result. &eaOerb even takes this concept a step further, allowing you to not only use recorded impulses from real environments to create your reverb, but also to use something closer to more traditional reverb methods to then modify that sound further, should you wish to do so. To be able to use convolution reverb, you will need a collection of impulse wave files. Aearch the net and youFll find all you want, many free. This e+ample uses files downloaded from http-..www.vo+engo.com.impulses. . )n the e+ample that follows, these files have been downloaded and stored in a folder that we have created and named 5:HProgra' Fi+esHREAPERHReverb -'pu+sesHVo1engoH

E1a'p+e
%. !. 1. 2. P. $pen the file A++ *#roug# *#e 9ig# .RPP and save it as A++ *#roug# *#e 9ig# REVER2.RPP (dd a new track after the last track, and name it Reverb 2us Create &eceives into this track from all of the instrument tracks and the Oo+ track. This will later enable you to feed different levels of signal, panned as reEuired, from different tracks into your &everb ;us. Display the F4 (indo% for the Reverb 2us. (dd ReaVerb into this F8 :indow. ,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. !#"

"4 E REAPER P+ugEins in Ac ion

N. Fade the (e level down to around DN" and the Dry level down to about Q0.?; as shown above. :e will start by adding =ust a little reverb, then increase it as reEuired. #. Click on the Add button and then on Fi+e. This lets you add a file at the start of your &everb chain. <avigate the file browser window to where your impulse files are stored and select one. )n this e+ample, we will be using 3 9ico+aes 5#urc#.%av 3. Click on Open to insert that file into &eaOerb. Q. P+ay the file. )n the Track :indow, lower the Oolume fader for the &everb ;us to about D%"d;. Mower the fader on the aster to about D Nd;. Iou can bring this up again later if you wish. %". )n the &eaOerb window, now raise the wet signal until you hear a pleasing amount of reverb. This will probably be at about D%" d;. )f you like, Aolo the &everb track for a while, so that you can discern the effect more clearly. %%. :e can now use the &eaOerb controls to ad=ust the &everb effect. The Pre>reverb fader offsets the reverb tail by delaying the signal that is sent to the reverb tail generator. Try it for yourself. %!. To add more controls to the &everb chain, click on Add and choose *i'e$Gain$3 re c#. Iour window suddenly has all these e+tra controls. These are used to stretch the impulse ?make it longerB, add in some graininess, or trim the impulse ?make it shorterB. The best way to find out is to e+periment for yourself. %1. <ow click on Add again and add a Fi+ er FCP$)PG. This causes a Kigh Pass Filter and a Mow Pass Filter to be added. This can be used to stop the reverb impulse from being added to very low and.or very high freEuencies. %2. :hen you have your sound right, you can save that set of parameters as a named preset that can by recalled for other pro=ects. Click on the V button, choose 3ave prese , name the preset and click OI. <otice that when you are e+perimenting with &eaOerb you can Drag and drop to change the order in which modules are positioned in the reverb chain. ,ntick the bo+ to the left of any moduleFs name to bypass that module. ReaVerb Fea ures 3u''ary Ec#o genera or > generates an echo > useful for 6filling in the gaps6 of an impulse or creating echo>decay. )ig# and +o% pass fi+ er > force the impulse not to work above or below a certain point. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' !#%

Up and Running: A REAPER User Guide v 4.30

9or'a+i=e > raise the gain of the impulse to "d;FA. Reverse D reverses the &everb D a nifty effect for vocals, guitar solos and song intros.outros. *ri'$Gain$3 re c# D trim or stretch the impulse ?make it shorter or longerB, add in some graininess. Fi+e > use this to insert an impulse file. Iou can insert as many files as you want* 0a1 FF* D FFT filters are a comple+ mathematical topic. Hoogle to learn more details* eanwhile, for the rest of us, changing the FFT si9e changes CP, usage. ( lower FFT setting means a higher CP, usage, but spread more evenly. Kigher FFT si9es will consume less CP, but result in more latency. FFT si9e will therefore affect performance and possible dropouts, but it should not affect the sound itself. if you don7t understands it, you7re probably best off accepting the default setting. PC D option to enable 9ero latency- useful when tracking while monitoring reverb levels. CC D option to use an e+tra thread to improve low latency performance. 3e a++ >apply these performance settings to all instances of &eaOerb in the current pro=ect.

"4."" Vo+u'e 5on ro+ %i # 5o'pression: Rea5o'p

'arlier in this chapter, we encountered a Ci'i er. Iou can think of a limiter as being like imposing a ceiling D it stops the volume of a signal from going above whatever level you set. ;ecause limiting can be harsh, it is often better to use a compressor on individual tracks. Think of it this way D a simple limiter cuts in suddenly and severely, whereas a compressor can be eased in much more gently. )t might help to get a visual picture of what limiting can do to a recording compared to a well applied compressor. The three illustrations show the same waveform first as recorded, then how it might look with limiting ?centerB, and with compression instead of limiting ?rightB. <otice that on the original waveform the volume varies Euite considerably from time to time. (pplying a limiter ?near rightB can lift the Euieter passages, but may make the overall effect too loud. The dynamics have been largely sEuee9ed out of the song. The illustration far right shows the same waveform after carefully using a compressor instead of a limiter. The track no longer clips, and more of the dynamics of the recording have been preserved. Aoftware compressors vary from the simple to the comple+. :eFre going to concentrate here on understanding =ust five main terms. These are essential to understanding how to use compression. There are other factors, but letFs =ust focus on these five for now. *#res#o+d E This is the volume at which the compressor will kick in. For e+ample, if you set your threshold at, say, >%"d;, then nothing below that threshold will be compressed at all. Ra io D This determines how gently or severely the compression is reEuired. For e+ample, a relatively gentle ratio like ! to % would ensure that for every ! decibels the volume of the recording goes above the threshold, the sound will be increased by only % ,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. !#!

"4 E REAPER P+ugEins in Ac ion

decibel. ( much more severe ratio of %! to % would mean that for every %! decibels the recording goes over the threshold, the sound will increase by only one decibel. Gain D This is how the volume of the track is ad=usted after compression. $ften you will want to raise the overall sound at least a little, to prevent the overall volume of the track from now being too Euiet. The gain control in Rea5o'p ?aboveB is labelled (e . Ci'i Ou pu D Aelecting this option will prevent the compressor output from e+ceeding " d;. 2ypass D this is the small tick bo+ in the top right corner, ne+t to the ,) button. Iou can use this to toggle bypass on and off, enabling you to assess what this plug>in is doing. :hen this is ticked ?as hereB the plug>in is active. :hen unticked it is set to bypass. IouFll find one of these in all plug>in windows.

E1a'p+e
%. $pen the file A++ *#roug# *#e 9ig# .RPP and save it as A++ *#roug# *#e 9ig# 5O0P.RPP !. 3o+o the 2ou=ou&i track. Mook at its media peaks. Iou can see that it starts at a steady volume, but over the last 1" seconds or so of the song it gets rather loud. 1. Play the track from the PP second mark for about %P secs then stop it. Try applying some compression to kick in at about D%! or D%1 d;. 2. Display the F8 :indow for this track. P. )nsert the V3*: Rea5o'p F5oc&osG. N. Create a loop to play over the last !" secs or so of this instrument. #. (s you do so, e+periment with setting the Threshold ?vertical fader on the leftB and the &atio. Aelect the option to Ci'i $utput. IouFll probably end up with a setting of something like >%N on the Threshold and a ratio around 2-% or P-% ?see pictureB. 3. <ow save this file.

"4."! CO3ERNs *ransien s P+ugEins

,sed well, a compressor can enrich a track or a mi+, but used badly it can do more harm than good. )f youFre not too confident about using a compressor, then you could do worse than look at CO3ERNs *ransien s Ii++er. )tFs a simple compressor ?more like a clipper reallyB with =ust two parameters for you to control D Threshold and &atio. (ll other settings are fi+ed. The threshold determines the volume at which compression begins D the ratio determines how much compression is applied. Feeling a little more adventurous/ Try adding CO3ER8s *ransien 5on ro++er immediately after this, to add more sustain and.or attack to the track, folder or mi+.

"4."3 Vo+u'e 5on ro+ %i # a 9oise Ga e

<oise Hates controls sound at the Euiet end of the scale. $ften when you record a track such as a vocal there will be sections of silence, perhaps between verses. (t least, you want them to be silence* Kowever, you might notice on playback irritating sounds have been recorded at a low level during these periods. ( noise gate can be set to detect these and filter them out. Mike the compressor, the <oise Hate can be Euite simple or more sophisticated. For now, weFre going to focus on =ust the basic <oise Hate controls *#res#o+d D ,sed to specify a minimum sound level below which the <oise Hate will kick in. A ac& D Apecifies how Euickly the gate should kick in. Too short an attack period can cause it cutting out the natural decay of a sound you want. )o+d D This specifies how long the gate remains open after the signal falls below the Threshold Re+ease D This determines how soon the gate closes after the signal has fallen below the Threshold.

MetFs take an e+ample, using the pro=ect A++ *#roug# *#e 9ig# 5O0P.RPP

For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' !#1

Up and Running: A REAPER User Guide v 4.30

E1a'p+e
%. Aolo the Oo+ track. !. Play the song from =ust before the end of the first verse. )f you listen carefully ?especially thru headphonesB you can hear some unwanted sounds during the otherwise silent passage. Certainly you can see this on the trackFs O, meter. 1. $pen the F8 :indow for this track and add 5oc&os V3* ReaGa e. 2. <ow play the song again. (d=ust the *#res#o+d fader ?the first on the left, so that it is set at a level =ust above that at which the ThresholdFs O, meter is peaking during the Euiet passages ?see belowB. This will shut out the sound D visual confirmation is given by the O, meter on the right, which should now display no activity. P. Iou will probably find that the default settings for (ttack, Kold and &elease work Euite well, but e+periment with ad=usting them if you wish. N. <ow save this file again. Iou have =ust seen here a simple e+ample of using a noise gate. <oise gates can be used to great effect and for a large number of applications ?including with a drum kit to cut out the bleed between micsB. (pplications like that are more complicated and reEuire a greater understanding of the noise gate7s many parameters.

"4."4 3s i++%e++ 5#orus and De+ay Effec s

)f you have ever owned an acoustic guitar then you probably know what a chorus effect is. Iou might have used a chorus pedal at some time to make your guitar sound fuller and richer, almost like two or more guitars. &'(P'& includes a number of chorus effects. Ahown here is 3s i++%e++8s 5#orus73 ereo. This uses similar principles to the delay plug>in that we encountered earlier. )t has a number of additional controls, the most important of which is 9u'ber of Voices. Try it and see* This is another plug>in where youFll find the wet.dry mi+ control and bypass toggle tick bo+ ?top rightB can be very useful. $ther chorus.delay effects from Astillwell include a mono 5#orus effect, De+ay7Pong ?creating a delay effect which can be ping>ponged between left and right speakersB, and De+ay7*e'po ?a simple delay effectB. For a really unusual delay effect, try e+perimenting with re'ainca+'8s f+oa y de+ay. ,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. !#2

"4 E REAPER P+ugEins in Ac ion

"4."? 9oise Reduc ion %i # ReaFir
ReaFir is a multipurpose dynamics plug>in that almost defies categorisation or description. )t can act as an 'C, a Compressor, a <oise Hate, and more. )n this e+ample, you will see how it can be used for noise reduction. The need for a noise reduction plug>in can arise when an otherwise good track has some unwanted background noise on it. This might, for e+ample, be hiss or rumble, or the sound of an air conditioner. &eaFir can be used to remove such sounds from your tracks in real time. )n order to do this, you must first identify a passage on the track ?perhaps a second or twoB where you have recorded the unwanted noise by itself. This is likely to be at the very beginning of the track.

E1a'p+e and Procedure

)n overview, the procedure is this%. )nsert ReaFir in the F8 window of the track containing the recorded items with the unwanted noise. Position the play cursor at the start of a passage containing =ust the unwanted noise. Aet ReaFir to 3ub rac mode. Aet 'dit ode to Precise. Aelect the $ption to Au o'a ica++y bui+d noise profi+e. Play the track only for the duration of the passage containing the noise, then stop the playback. Iou should see that ReaFir has built a profile of the unwanted noise. This will be marked with a red line ?see above rightB. <ow uncheck the bo+ labelled Au o'a ica++y bui+d noise profi+e. &eturn the play cursor to the start of the song and play it.

!.

1.

2. P.

N. #. 3. Q.

%". Iou should now find that as the song plays, the noise that you profiled by following steps %. to P. has now been removed from your output.. 9o e: Iou might be a little pu99led as to when to use a noise gate and when to use noise reduction software such as &eaFir. The answer is usually Euite simple. <oise reduction is suitable for removing a background noise that is fairly constant, such as an electrical hum, whereas a noise gate is better at dealing with occasional noise, such as a vocalist7s breathing sounds.

For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' !#P

Up and Running: A REAPER User Guide v 4.30

"4."B 0u+ iband 5o'pression %i # Rea45o'p
(pplied to the aster, ultiband Compression can be a useful tool for adding body, warmth and volume to your final mi+. )t is outside the scope of this guide to suggest =ust how heavily or lightly you should apply your ultiband Compressor. any audio engineers believe Euite strongly that the contemporary trend being currently pursued by the ma=or record companies takes multiband compression too far. ;e that as it may, a multiband compressor works by applying different rates of compression to different freEuency bands. This lets you shape the sound much more precisely than is possible with a simple compressor. The &ea8Comp default settings include 2 bands. These are " to !"" K9, !"" K9 to %,""" K9, %,""" K9 to P,""" K9 and above P,""" K9. Kowever you can add e+tra bands or delete superfluous ones. Iou can also change the band freEuencies as you wish. For e+ample, if you increase the top freEuency of ;and % to, say, !P" K9, then that automatically becomes also the starting freEuency for ;and !. f you have not used a ultiband Compressor before, then you are advised to start cautiously and become more adventurous as you gain in knowledge and confidence. Iou can e+periment on any of the sample A++ *#roug# *#e 9ig# pro=ect files that you have used elsewhere in this ,ser Huide.

E1a'p+e
%. $pen one of your sample pro=ect files. !. )nsert Rea45o'p in the F8 window for the 1. Play your pro=ect from the beginning. 2. )t is Euite likely that at this stage &ea8Comp will have no effect on the sound. This will be the case if, as shown right, the peak levels ?green vertical barsB fall short of the threshold settings ?red hori9ontal linesB for each band ?see e+ample aboveB ;ut you can still learn something* P. 'nable the 3o+o curren band feature. N. (s the song plays, select in turn each of the four tabs, %, !, 1 and 2. This will enable you to hear separately each of the freEuency ranges that you are working on. #. <ow disable the 3o+o 5urren 2and feature. Disable Au o 'a&eup gain. This will need to be done individually for each of the four band. )f Au o 'a&eup gain were to be left enabled, the volume of our mi+ would be pumped up after we make our other changes. aster.

,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. !#N

"4 E REAPER P+ugEins in Ac ion

3. Q. (s the song plays, ad=ust the threshold for each of the bands until they come =ust below the peaks for each band. (n e+ample of this is shown here. The default &atio setting of !-% is Euite a 4safe5 level. Try increasing the ratio for each of your thresholds up to around 2-%. )f you find this makes the sound too compressed, ease the levels back towards !-%. &emember, this is an e+ample, not a model*

%". 'ven now, with these fairly conservative settings, you should notice the difference with &ea8Comp enabled and set to bypass. :hen enabled, the different tracks should bind together better into a mi+. %%. )f you wish, you can e+periment with the various other controls, especially the Inee. This setting determines how suddenly or gradually the compression is applied. %!. Iou can also e+periment with the Gain controls if you wish, both for individual bands and for your overall mi+, but don7t overdo it.

Using Rea45o'p: 3o'e *ips

DonFt use too many bands. Too many independently compressed bands can make your mi+ sound dis=ointed. any of the best mastering engineers use only as few as three bands. Misten closely to the changes in sound as you ad=ust the various settings. $ne affects the other, so it is important to take your time here. The (ttack settings determine how much time passes after the signal rises above the threshold before the compressor kicks in. The &eleases settings determine how much time passes after the signal falls back below the threshold before the compressor is released. Try to ad=ust the (ttack and &elease settings so as to make the compressor come in and out unnoticed. 'specially when first using a ultiband Compressor in the aster, it is advisable to use the Hain settings only to compensate for loss of volume due to compression, not to pump the signal up. ( notable e+ception here might be where one bandwidth needs to be ad=usted slightly relative to the others. )t is often advisable to place a limiter ?such as M$A'&Fs your F8 Chain. aster MimiterB after the ultiband Compressor in

(nother, and completely, separate use for a ultiband Compressor is to compress a very specific freEuency within a track, for e+ample as a de>esser or de>popper on a vocal track.

For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' !##

Up and Running: A REAPER User Guide v 4.30

"4."> CO3ERNs *i'eDifference Pan
$f the many SA plug>ins that are supplied with ?or available for use withB &'(P'&, M$A'&Fs TimeDifference Pan definitely merits a mention. )t is simple to use, but very effective. Aometimes you may feel that a track you have recorded sounds rather 4thin5 or 4wimpish5. IouFll want to fill it out a bit, or fatten it up to make it sound richer, warmer, fuller. $ne old trick is to duplicate the track and run the duplicate track a few ms behind the original, but panned differently. Fed back into the main mi+, this can almost make the one instrument sound like two instruments at times. M$A'&Fs TimeDifference Pan plug>in effectively does all this for you D with much less time and trouble on your part, and with very, very little CP, overhead. )f you want to e+periment with this plug>in to try out the effect for itself, the 2ou=ou&i track on A++ *#roug# *#e 9ig# .RPP lends itself to this Euite well.

"4."@ CO3ERNs E1ci er

M$A'&Fs '+citer plug>in is a simple way of putting some high end sparkle back into an otherwise possibly dull mi+ Problems with individual instruments should be fi+ed on their own tracks. Kowever, you might still wish to add some vitality to the overall mi+ Place the '+citer at or near the beginning of the aster F8 chain and see for yourself. <ote these parametersFreJuency D the freEuency above which you want to add the sparkle. Try e+perimenting in a range of about !""" K9 to 2P"" K9. Aometimes, you may need to go even higher for the best results. 5+ip 2oos D the amount by which you wish to boost the volume above this freEuency. ;e gentle at first. )ar'onics D the amount of Karmonics you want to add to the mi+ ?go easy on this oneB. (nother plug>in in a similar vein is the /3:33 i++%e++$e1ci er.

"4."A 33*i++%e++8s )uge2oo y

This is a simple plug>in that can be used to enhance the bass freEuencies on any track. Try setting the reEuired freEuency first, then gradually increasing drive and mi+ until you like what you hear.

"4.!0 3o'e Unusua+ /3 P+ugEins

"4.!0." U i+i y$bufsave
Placed as the first F8 chain item ?or, for )D) tracks, immediately after the synthB and at the end of the chain, this adds feedback to the chain ?see e+ample belowB. ,p to %"" buffer slots are available. ,se the same slot for both instances of bufsave on the same track, and do not use that same slot number on any other track.

,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. !#3

"4 E REAPER P+ugEins in Ac ion

The F8 )n between the two instances of bufsave could be a solitary simple effect ?such as a simple delay, or remaincalm7s floaty delayB or, as shown here, a whole seEuence of effects. The other four faders manage the audio flow. They determine separately for each bufsave instance the levels of source to buffer mi+, buffer to buffer mi+, buffer to destination mi+ and source to destination mi+. )n particular, source to buffer mi+ acts as a feedback control. :hen working with feedback, be cautious. (s a precaution, initially set both source to buffer mi+ faders some way to the left. Iou can then slowly fade these up more as reEuired. )nteresting sounds can be obtained using more than one pair of bufsave plug>ins in an F8 chain, with each pair being allocated its own uniEue slot.

"4.!0.!

3s i++%e++$ #under&ic&

This one can be positively scary* )t adds a bottom end thunder>like sound to a track. Iou could try using it on a bass drum, or a synth or even an electric bass G or anywhere where you want to create that atmosphere. )ts four faders are Euite easy to work with. Iou7ll likely get the best results without too much e+perimenting.

"4.!0.3

Re'ainca+'7org$ onega e

Tonegate is a tone generator triggered off a gate, to add sine, sEuare or noise tones. )t is made more interesting by the addition of pitch and fade in.fadeout controls. This plug>in really gives you plenty of opportunity to be creative. $riginally intended for use with kick or snare, it is remarkably versatile. Try it out on your electric guitar, for e+ample.* '+periment at first with the FreJuency fader and the (avefor' options, then let your ears be your guide as you ad=ust the other controls. Iou can learn more about this and other great remaincalm SA plugins by visiting re'ainca+'.org. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' !#Q

Up and Running: A REAPER User Guide v 4.30

"4.!" 3o'e Gui ar F4 P+ugEins
ThereFs a whole series of Sesusonic plug>ins especially designed to help you shape your guitar sounds. ;y and large, they work in much the same way as your guitar pedals do. Kere is a selection-

P+ug -n
/3 Gui ar$a'pE'ode+ /3 Gui ar$a'pE'ode+Edua+ /3 Gui ar$c#orus

Descrip ion
Mets you select an amplifier to be simulated, such as a Fender or a arshall. Mots of parameters for you to tweak* The dual version of this plug>in lets you choose different left>right speakers* The waveform is fed thru a series of delays whose delay times are slowly modulated. The shape of the chorus sound is moulded primarily by the Mength, <umber of Ooices, and &ate settings. This plug>in works by distorting the shape and freEuency content of the waveform. The degree of distortion applied is determined principally by the Hain and Kardness settings. Flanging is produced when a signal is mi+ed with a delayed copy of itself, while the delay time continually changes. The flange effect is set by ad=usting the Delay Mength, &ate and Feedback parameters. This four allpass filter stereo phaser effect settings include &ate ?K9B,&ange ? in and a+B, and Feedback. The wah effect is a filter effect, produced by the Position, Top &esonance, ;ottom &esonance and Filter Distortion settings. Tremelo is produced by low>freEuency variation in a sound7s amplitude envelope, achieved by setting FreEuency ?K9B and (mount ?d;B. Fi+ er ?e..g.:ah or PhaserB 5o'pressor Dis or ion EO Pi c# 5#ange ?e.g. OibratoB 0odu+a or ?e.g. Flange or ChorusB Ceve+ 5on ro++er ?e.g. Tremelo or MimiterB Ec#o ?such as &everbB

/3 Gui ar$dis or ion

/3 Gui ar$f+anger

/3 Gui ar$p#aser /3 Gui ar$%a# /3 Gui ar$ re'o+o

)t is not suggested that you will want to use all these effects at once, but if you do use more than one of these, then the effect is cumulative. The order in which you apply them will determine how the output sounds. (s a starting point, one possible order is shown on the right. This does not mean that you shouldnFt hold back from e+perimenting with other F8 ordering, to see what creative sounds you can produce*

"4.!! 3o'e O #er REAPER /3 P+ugEins

This ne+t part of this chapter will give you an overview of some of the other wonderful Sesusonic plug>ins supplied with &'(P'&. )t is only a small selection, and the fact that any plug>in isnFt included in this table in no way implies that it is inferior to any of those that are included.

P+ug -n
/3 -4$3 ereoP#ase-nver er /3 -4$P#aseAd6us ingRou er

Descrip ion
Four choices, <ormal Phase, )nvert Meft, )nvert &ight or )nvert ;oth. ( stereo phase inverter with the addition of selectable input and output channels. This can be used, for e+ample, to create a fuller, more vibrant sound from a single mono track. ( custom designed compressor suitable for use with Digital Drums. ( simple peak limiter with a single control, Threshold. This can be used to prevent an individual track from clipping. ,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. !3"

/3 CO3ER$DD5 /3 CO3ER$3PCi'i er

"4 E REAPER P+ugEins in Ac ion

P+ug -n
/3 CO3ER$gf1Gonio'e er

Descrip ion
Place it at or near the end of the F8 chain of a stereo track, folder, or the aster Iou will see a visual representation of the movement of the sound within the stereo field.

/3 CO3ER$3 ereoEn#ancer

,sed to create an enhanced stereo effect in a stereo track, folder, bus or aster. :orks by ad=usting the width panning of high and low freEuencies independently, and to define the crossover point between the two. $ther stereo manipulation plug>ins include Ci eon$pseudos ereo and 3s i++%e++$s ereo%id #.

/3 CO3ER$(aves#aping Dis or ion /3 0e ers$ uner

( delightfully easy to use plug>in that adds distortion to a track.

)nsert this into a new track and arm for recording, then tune your guitar.

/3 0e ers$vu'e er /3 0isc$ onifier /3 33 i++%e++$o==ifier

)nsert this into any track when you want monitor its O, levels closely. (n interesting plug>in that creates sound effects by shifting pitch or freEuency for audio blocks of a determined si9e. 'specially good for fattening or doubling a vocal track.

For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' !3%

Up and Running: A REAPER User Guide v 4.30

P+ug -n
/3 33 i++%e++$e1pander

Descrip ion
The opposite of a compressor* Can restore dynamics to a mi+ that sounds overcompressed. This works by further attenuating the volume of the signal when it falls below a given threshold. (dds a high pass filter and low pass filter to a track or e+ample, for removing bottom end rumble. aster. ,seful, for

/3 33 i++%e++$#pf+pf

/3 33 i++%e++$badbuss'o6o

( nonlinear waveshaper with a difference.

,se in particular the nonlinearity, knee and mod settings to make a piece sound a little less perfect and a little more 4rootsy5 and authentic. /3 33 i++%e++$+ouderi=er /3 Pi c#$superpi c# /3 Fi+ ers$au opea&fi+ er ( simple plug>in with two controls, used to make a track or mi+ louder. $ne of a number of plug>ins that can be used to change pitch. ( neat plug>in that lets you create autowah type effects, essentially by ad=usting center freEuencies and filter width. The closer together are the values of the min and ma+ center freEuency and the lower the octave width setting, the more dramatic will be the effect. ( DC offset removal plug>in. ( simple plug>in. The a+ Ool control can be set to prevent clipping in the aster track when you are e+perimenting with sounds and mi+ing. ( simple plug>in that increases or attenuates volume. Place it at the start of an F8 chain to ad=ust track or item volume before F8 are applied. (nother very simple plug>in, used to ad=ust the phase of a track or item.

/3 Fi+ ers$dc7re'ove /3 U i+i y$+i'i er /3 U i+i y$vo+u'e /3 U i+i y$p#ase7ad6us

$ver !"" Sesusonic plug>ins are supplied with &'(P'&. Kopefully, this chapter has given you more than a few good pointers, but it is not possible to document them all in this ,ser Huide. For more information check out &'(P'&7s :iki D go to %i&i.coc&os.co'$%i&i$inde1.p#p$5a egory:/esusonic,

,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. !3!

"4 E REAPER P+ugEins in Ac ion

"4.!3 *#ird Par y P+ugEin Prese s
Iou can use your favourite third party OAT and Direct8 plug>ins with &'(P'&, such as Aonitus, :ave (rts, Aony, and so on. any of these plug>ins are supplied with a number of Presets. The method of accessing these will vary depending on such factors as the plug>inFs native interface and which type of plug>in it is. )n this section, we will look at three e+amples. (rmed with this information, you should be able to figure out where to find the presets for any of your plug>ins.

E1a'p+e "
This e+ample is of a popular Direct8 Aonitus plug>in, Phase. )n this case, the plug>in interface includes its own native Prese s section. Clicking on that ?shown leftB displays a menu of supplied presets. Iou can also store your own presets here if you wish, as the Aonitus range of plug>ins includes its own preset manager. <otice that you can also use &'(P'&Fs own Preset Mibrary to store your presets with &'(P'& rather than with the plug>in. This is accessed by clicking on the small K button shown =ust to the left of the Param button. This is especially useful when you are working with plug> ins that might not have their own native Preset anager.

E1a'p+e ! This e+ample shows a T:est OAT plug>in, AT'(DI Pro. This plug>in does not have its own native preset manager. Kowever, as with other plug>ins you can use the &'(P'& OAT program interface to create and manage your own presets.

E1a'p+e 3
( Direct 8 plug>in this time, AonyFs Oibrato. )n this case, native presets do not appear when clicking on the &'(P'& Preset drop down list arrow. This will only display any presets that you have created yourself. )n this e+ample, right>click over any vacant area of the plug>inFs H,) interface to display a list of factory presets.

For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' !31

Up and Running: A REAPER User Guide v 4.30

"4.!4 Cosing #e Grap#ic User -n erface FGU-G
There might be times when you might want to lose a OAT plug>in7s graphical user interface ?H,)B and instead display its parameters as a simple series of faders. This is when the U- button in &'(P'&7s plug>in interface comes in. Clicking this button causes the plug>in and its various controls to be displayed in a simpler format. Kere7s an e+ample, using the Terry :est OAT Ooc>'C plug>in. Iou might like this plug>in, but perhaps not its rotary controls. Aome people find rotary controls Euite difficult to control with a mouse. )n that case, you might want to click the plug> ins U- button ?see position of mouse cursorB, and turn that graphical interface into this)n &'(P'&7s generic interface, every parameter is controlled by a hori9ontal fader. There is also an option on the P+ugEins; V3* page of your preferences settings to Defau+ V3* o generic U- Fins ead of p+ugEin U-G.

"4.!? 3pecifying V3* P+ugEin Run 0ode

:ithin the F8 ;rowser you can right click over any OAT plug>in to specify your preferred mode for running that individual plug>in. Iour options are natively, as a separate process, as a dedicated process, or as whichever of these has been specified as the default in your preferences. This option can be used to help Euarantine &'(P'& from the effects of any plug>in that you suspect may be causing performance and.or stability problems.

"4.!B 5O5IO3 Reaper Effec s Guide

To supplement the information contained in this chapter, a free separate C$C@$A &eaper effects guide is available and can be downloaded from the following ,&M# p:$$%%%.coc&os.co'$<g+a=fo+&$ReaEffec sGuide.pdf <ote that this link is case sensitive.

,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. !32

"? E 0ore REAPER Rou ing E1a'p+es "? 0ore REAPER Rou ing E1a'p+es
This section is mainly intended for reasonably e+perienced users of D(: software, to show you some of the more clever aspects of &'(P'&Fs routing that are probably different from anything youFve e+perienced before. ;ut hey, even if youFre a complete newb, you might like to have a look anyway. Iou might find it interesting G or you might prefer to skip past it for now and come back to this chapter later.

"?."

5on ro++ed 2+eed

;leed is a term used when material intended to be recorded on to one track manages to overflow onto others. This commonly happens :hen more than one voice or instrument is recorded at the same time, each with its own microphone. For e+ample, you might record a person singing and playing an acoustic guitar at the same time, perhaps one vocal mike, one guitar mike. Kowever, you will find that some of the vocal will bleed thru on to the guitar mike, and vice versa. :ith layered recording, when the headphones are so loud, or ill>fitting, that the microphone being used for recording actually picks up some of the output of the headphones. Keadphone bleed is bad, period. )f, for e+ample, you have an artist who likes to hold one headphone to her ear while overdubbing a vocal, then make sure the mi+ is sent to that ear only. Kappily, &'(P'&Fs fle+ible routing makes this simple. )n the e+ample shown ?rightB, output from the aster is directed to both Apeakers, but only one headphone. The other kind of bleed, which we will call live recording bleed, can actually have some benefits. )f all microphones are positioned carefully and correctly, it can produce a warmer, fuller more natural sound than is often obtainable from layered recording. ?Mayered recording is where each track is recorded one at a timeB. The trouble is, the 4all at once5 method of recording it also has negatives D serious ones. For e+ample )t isnFt possible to drop in and overdub a short passage to correct perhaps a vocal phrase or a couple of bars on the guitar. ;asically, the whole track has to be recorded again each time. 'verything. )t isnFt possible in mi+ing to get the best sound for each track. For e+ample, if you need to add some presence or compression to the vocal track, then you will also be adding it to the guitar bleed in the same track. This is where &'(P'&Fs routing capabilities can be so useful. They allow you have the best of both worlds D the richer, fuller sound that you can get from adding a small amount of controlled bleed, but without the disadvantages. KereFs how it works ,se layered recording, to ensure that each track is recorded cleanly. ,se &'(P'&Fs routing to add a little bleed where you want it, before or after any F8 in the F8 chain.

E1a'p+e
This e+ample demonstrates a simple use of routing to create a controlled bleed effect. %. $pen the file A++ *#roug# *#e 9ig# .RPP and save it as A++ *#roug# *#e 9ig# 2CEED.RPP !. ute the 2ou=ou&i track. To keep this e+ample simple, we wonFt be using it here. 1. Aelect the Vo1 track, right click over the Oolume fader and set the number of track channels to four.

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Up and Running: A REAPER User Guide v 4.30

2. Display the F4 (indo% for the Vo1 track. (dd a &everb F8 of your choice. )n this e+ample, we are using ReaVerba e which is included with &'(P'&. P. (fter inserting the &eaOerbate plug>in ?or whatever you are usingB, ad=ust its settings to suit. Click on its ! in ! out button and use its pin connector to direct output to Channels 1 and 2 only ?see rightB. N. Display the -O :indow for the Oo+ track. #. (dd 3ends from the Oo+ ?stereo source Channels 1.2B to both Huitar tracks ?channels %.!B, as shown. Pan these sends at about #"J left and right respectively, about D%Pd;, and Post F8 ?see belowB. This ensures that the vocal track will be heard crisply and cleanly from the center, whilst its reverb is directed Euite widely left and right. 3. Play the song, with the Oo+ track aster.Parent send disabled. (d=ust the Aend levels of Oo+ to both Huitar Tracks so that the Oo+ can only =ust be discerned in the very background. Q. 'nable the aster.Parent send on the Oo+ and play again. Iou may need to tweak some reverb parameters and.or send levels. The Oo+ should sound fuller and richer than before. %". Aave the file. 9o% ry #is. &emove the &everb F8 from the vocal track. &emove the sends from the Voca+ Track to the Gui ar Tracks. Create a new track called Vo1 Reverb and insert a &everb F8 of your choice. Create a send from your Vo1 track to this Vo1 Reverb track. Create sends from the Vo1 Reverb track to both Gui ar tracks, Post F8. Play the song, ad=usting Aend, Pan and Oolume levels to suit. Disable the master.parent send of the &everb track D you should notice a significant difference.

"?.!

3p+i ing 5#anne+s

This e+ample will introduce you to a feature in &'(P'& that possibly delivers you more mi+ing power than any other single aspect- the ability to create and use multiple channels. DoesnFt sound very interesting or e+citing does it/ )tFs not an easy concept to understand at first, so, =ust for fun, weFll take as simple an e+ample as we can to introduce the concept. Iou have an acoustic guitar track recorded. Iou should by now have a general idea at least about how to shape its sound with 'C, or fatten it with a little delay. ;ut in this e+ample, weFre going to take it to another level- we can split the recorded track by different freEuency bands into, say, three different paired channels, and perhaps pan different freEuencies differently, or add some trailing delay =ust to one channel ?i.e., one selected freEuency rangeB. :hy would you want to do this/ :ith this particular e+ample, maybe you would, maybe you wouldnFt. ;ut being able to create and use channels in this way opens up endless creative mi+ing and editing possibilities. :eFll start with this e+ample because itFs a fairly simple one to put into practise, and it will help you to understand how itFs done. (fter that, weFll look at a more comple+ case.

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"? E 0ore REAPER Rou ing E1a'p+es

E1a'p+e
%. $pen the file A++ *#roug# *#e 9ig# .RPP and save it as A++ *#roug# *#e 9ig# 5#anne+s.RPP !. :e are ?for the purpose of this e+ampleB going to work only with the track G r 2ody. 0u e all other tracks e+cept this. To do this, hold the A+ key and click on the 0u e button for this track. 1. :e now are going to create three tracks D letFs call them Hhost Tracks D to mirror each of the three bands that we are going to split our G r 2ody track into. Create these three tracks and label them Co%, 0ediu'; and )ig#. Aee illustration on right. 2. Display the -O (indo% for the G r 2ody track. Aet the number of 5#anne+s ?near the topB to B, and create sends to each of the three tracks that you have =ust created. P. Aend (udio from 5#anne+s "$! to "$! on the Co% track, 5#anne+s 3$4 to "$! on the 0ediu' track, and 5#anne+s ?$B to "$! on the )ig# track ?see illustration rightB. N. Hetting complicated/ Then make sure that your Rou ing 0a ri1 is in view. #. <ow open the F8 window for the G r 2ody track and insert the /3 CO3ER$32and3p+i er. 3. Aet the first freEuency fader to about !"" K9 and the second to about !""" K9. Q. Aolo the Co% track and play. <otice you hear only the Mow freEuencies. %". Kold 5 r+ A+ and click on the Aolo button on the 0ediu' track. <otice you hear only the edium freEuencies. %%. Kold 5 r+ A+ and click on the Aolo button on the Kigh track. <otice you hear only the Kigh freEuencies. %!. '+periment ad=usting the faders in the 1 ;and Aplitter and playing back. <otice how the sound changes. Aet them back to their defaults afterwards. %1. <ow select the 0ediu' track, open its F8 window and add /3:Gui ar$c#orus. (d=ust the settings to suit. %2. <ow unsolo any solo tracks, unmute any muted tracks to restore all tracks to your mi+. IouFll probably want to fade down the original Htr ;ody track to about D N d; and the ;ou9ouki to about D %" d; ?or mute altogetherB.

For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' !3#

Up and Running: A REAPER User Guide v 4.30

%P. ake any further ad=ustments you want to your De+ay 5#orus settings. (n e+ample ?but only an e+ampleB is shown above.

%N. '+periment with panning the three bands differently, to create a fuller sound. %#. Aave this file. The plug>ins supplied with &'(P'& include several which can be used for channel manipulation, including a four band splitter ?shown hereB and a five band splitter.

"?.3

Fu++ and Fa Voca+s %i # ReaDe+ay

This ne+t e+ample shows how you can combine &'(P'&Fs channel splitting capabilities with the &eaDelay plug>in to create a simple effect for fattening up thin vocals D all on a single track* The flow chart on the right illustrates how this will be done. The signal flow shown has this effect )t creates a sidechain which is fed into the &eaDelay plug>in to fatten the original sound and to fill it out. )t uses &eaComp to apply some compression to the main vocal. The delayed signals are then mi+ed back in with the original signal. Further compression is then applied. if you wish, you could apply more F8 to any of The original dry recording. The sidechained and delayed signal. The final mi+ of the dry and sidechained ?delayedB signals together. <ote that the order of the plug>ins in the F8 chain is significant- if you change the order, you change the outcome* This issue will be e+amined again more closely in later e+amples.

E1a'p+e
%. $pen the file A++ *#roug# *#e 9ig# .RPP and save it as A++ *#roug# *#e 9ig# READECA,.rpp. !. Aolo the Vo1 track. For the purpose of this e+ample, we will be working with the vocal track alone. 1. Display the -O window for this track and set the number of track channels to 4. 2. $pen the F4 (indo% for this track. )f there are any plug>ins already in the chain, remove them. P. <ow insert ReaDe+ay into the F8 chain. N. Click on the ! -n ! $ut button to display the connector matri+. Meave the -npu s at their default ?Channels % and !B, but ad=ust the Ou pu s so that they are 5#anne+ 3 ?MeftB and 5#anne+ 4 ?&ightB, and only these two channels ?as shown aboveB. #. Click on the Add *ap button to add a second page. 3. Aet Page % to a Delay Mength ?timeB of about 1.P ms and musical length ". Q. Aet Page % Pan to about P"J Meft. This shows on the fader as D".P. Aee the illustration below. %". Aet Page ! to a Delay Mength ?timeB of about Nms or # ms and musical length ".

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"? E 0ore REAPER Rou ing E1a'p+es

%%. Aet Page ! Pan to about P"J &ight. This shows on the fader as ".P. %!. ake sure that both pages are Enab+ed and that neither is soloed. %1. Aet the (e level to about > Q d; and the Dry to about >! d;. ;ecause we have not yet added a channel mi+er you will not yet hear the delay effect. %2. )nsert Rea5o'p into the F8 Chain. Meave the ain )nputs and $utputs both at their default settings, which are Channel % ?MeftB and Channel ! ?&ightB. %P. Aet the Ra io to about B:". (d=ust the *#res#o+d so that for louder passages Ou pu is reduced by about N or # d;. %N. :e can now =oin our channels back together again, to mi+ the delayed signal with the compressed signal. )nsert the /3:-4$0i1er7@137"13 into the F8 chain ?after &eaCompB. %#. Fade all but the first two faders all the way downZ ad=ust the other two faders as you wish ?see rightB. %3. (dd another instance of Rea5o'p after the mi+er. (d=ust settings to suit. %Q. Play the file, ad=usting the track volume faders to suit your ears. Compare the vocal sound with F8 alternately enabled and bypassed. :ith these F8 enabled, the vocal should sit above the mi+ rather more easily. 9o e: )n this e+ample, the order in which the F8 are applied is significant. :ith the order that we have used, the sidechained ?delayedB signals do not go thru the compressor, with the result that these signals retain more of their original dynamics.

"?.4

REAPER 3end *ypes

'very send is defined as being one of three types > Pos EFader FPos EPanG, PreE Fader FPos EF4G, or PreEF4. The default type is Pos EFader FPos EPanG, but this can be changed in your preferences if you wish ?Track.Aends defaults pageB. Different send types send the audio at different stages in the audio signal flow . For e+ample, the volume of a send that is Post>Fader ?Post>PanB will be affected by changes made to the source track7s volume fader. ( send that is Pre>Fader ?Post F8B will not. (n audio send that is Pre>F8 will not be affected by any F8 in the source track7s F8 chain. For more complete information, consult the flow charts at the end of Chapter P. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' !3Q

Up and Running: A REAPER User Guide v 4.30

"?.? 5#anne+ 3p+i ing and Pi c# 3#if ing

IouFve already seen how &eaPitch can be used, for e+ample, to create vocal harmonies from a lead vocal track. )n this e+ample you will see how by splitting our vocal track into several channels you can create a whole vocal ensemble, with different F8 and plug> ins being applied to different harmony parts. This is especially useful, for e+ample, if you want to compress your vocal harmonies before lowering them, to make them sit smoothly and subtly behind the lead vocal. The illustration ?rightB demonstrates this concept. )n summary, this is what happens The Oocal Track is assigned si+ channels. Two instances of &eaPitch are inserted, and the signal from channels % and ! is fed to both of these. The output from the two &eaPitch instances are directed via channels 1 and 2 and P and N respectively to two separate instances of &eaComp. )n each case, you will need to specify Channels 1 and 2 ?&eaComp %B and Channels P and N ?&eaComp !B as the input source for your compressors. (u+iliary )nputs should be set to nothing, and the $utput channels should be the same as the )nput Channels. The output of the two compressors is sent to a single instance of &ea'C, as is the original signal on Channels % and !. )n order to do this, you should make )nput % for &ea'C Channels %, 1 and P ?see illustration rightB, and )nput ! should be Channels !, 2 and N. ;y sending the three different audio streams directly into &ea'C we cut out the need for a channel mi+er. Kowever, in doing this it makes it more difficult to ad=ust the relative volume levels of the three audio streams. )n this e+ample, you could use separate instances of the SA utility Oolume plug>in in each chain to do this. The three streams are =oined back together at &ea'C, from which they are fed to the volume fader and then to the aster.

This method can be employed, for e+ample, when you wish to use more than the %N channels that can be handled by any of the mi+er plug>ins. Iou can in fact use up to N2 channels. (gain, the order in which F8 are placed in the chain is important. $ne possible strategy is to insert them in reverse order of their channels, i.e. highest channel numbers first. The critical factor, however, is to place those F8 which both take their input from and direct their output to Channels %.! after any F8 whose output is directed to sidechain channels ?such as 1.2 or P.NB. *ip: )f you forget to create your reEuired track channels before loading your plug>ins into a track7s F8 chain, then you can still add them 6on the fly6. To do this, =ust click on the small K button in the bottom left corner of the Plug>in Pin Connector window > see above.

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"? E 0ore REAPER Rou ing E1a'p+es

"?.B Audio Duc&ing

The ne+t e+ample will show you how to use &'(P'&Fs routing capabilities to create an effect known as duc&ing. Put simply, this is a term which describe what happens when a compressor is set up to ensure that the volume on one track is automatically lowered whenever the volume on another track is raised. Iou might want to do this, for e+ample, when working with a kick and a bass. )n this e+ample, weFll use the ;ou9ouki, Huitar and Oocal tracks in our sample pro=ect, =ust to show you how itFs done. :e will use audio ducking to ensure that the overall volume of the instruments are automatically lowered slightly whenever there is a signal on the Oocal track. This helps lift the vocal track slightly above the mi+. )n order to do this, we use multi channel routing in con=unction with the &eaComp compressor. This diagram ?above rightB illustrates the concept of how we use sidechaining to achieve our ducking effect. MetFs take it step by step.

E1a'p+e
%. $pen the pro=ect A++ *#roug# *#e 9ig# .RPP and save it as A++ *#roug# *#e 9ig# DU5I.RPP. !. )f there are any tracks other than G r 2ody, G r 9ec&, Vo1 and 2ou=ou&i, delete them, so that you are left with =ust these four tracks. (d=ust the volume and pan faders of these tracks to get a reasonable mi+. 1. )f necessary, change track order so that Oo+ is Track %, Htr ;ody Track !, Htr <eck Track 1 and ;ou9ouki Track 2. 2. )n the Track Control Panel, select the Vo1 track and press 5 r+ * to insert a new track after this. <ame this new track -ns ru'en 3ub'i1. P. Click on the Fo+der icon to make this track a folder. ake the ;ou9ouki track the last track in the folder. N. :e need to add two more channels to the -ns ru'en 3ub'i1 so that it can receive a sidechain signal from the Oo+. &ight click over the Oolume fader for this track, then set the number of channels to four, as shown here. #. :e now need to create a sidechain to enable the various instrument and -ns ru'en 3ub'i1 track to detect the signal level of the Vo1 track. 3. Drag and drop from the -O button on the Oo+ track to the -O button on the )nstrument submi+. This will create a send and open the controls window for that send. (ccept the default send type Post Fader, Post PanB and set the destination channels to 1.2 ?as shown aboveB. Q. <e+t, display the F8 window for the )nstrument Aubmi+ Track. (dd the 5oc&os plug>in V3*: Rea5o'p F5oc&osG.

For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' !Q%

Up and Running: A REAPER User Guide v 4.30

%". <otice that this plug>in includes an item called De ec or inpu . This is where we tell &'(P'& that we want the Oo+ level, not the ;ou9ouki level to control when the compressor kicks in. This Detector input offers two basic choices D 0ain -npu and Au1i+iary -npu . %%. :e need to ensure that ain )nput is defined as the media on the Aubmi+ track ?Channels % and !B, and (u+iliary )nput is defined as the stream coming from the Oo+ track on Channels 1 and 2. %!. Click on the 4 -n ! Ou button and if they are not already set, set the assignments as ain )nput M > &eceive from Channel %, ain )nput & > &eceive from Channel !, (u+iliary )nput M D &eceive from Channel 1, and (u+iliary )nput 2 D &eceive from Channel 2. These are as shown on the right- most probably these will be the default settings. %1. <ow display the De ec or -npu drop down list and select Au1i+iary -npu C K R ?rightB. This ensures that the compression will be applied to the instrument mi+ in response to changes in the volume ?strengthB of the incoming signal on channels 1.2 from the vo+ track. :hen the volume of the vo+ e+ceeds the threshold setting, the instrument mi+ will be compressed. %2. <ow play the song. (d=ust the *#res#o+d ?first vertical faderB downward, so that during Oocal passages the O, meter peaks above the fader level. %P. Alide the Ra io fader right until you are satisfied with the overall amount of reduction on the )nstruments. This will probably be somewhere between 2-% and N-%. $bserve the flashing red bar to the left of the $utput O,. This indicates the amount of reduction that is occurring on the submi+ track. )n the e+ample shown, this is D1.Q db. %N. Aave the file. Ahown are possible compressor settings that might be appropriate in this case. The trick is not to make the compression too obvious, but to have it =ust sEuee9ing the peaks of instrument mi+ down a little to make room for the vocal. *ip: ( Euick way to create a sidechain from one track to another is to drag and drop from that track7s )$ button directly to the window of the plug>in on the receiving track.

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"? E 0ore REAPER Rou ing E1a'p+es

"?.> Doub+e Duc&ing

This e+ample should only be attempted after you have completed the e+ample in the previous section Audio Duc&ing. )t builds on the work you did there, to apply a further instance of sidechaining, this time to the aster. :e will set up another instance of &eaComp, this time in the aster Track, to ensure that another layer of gentle compression is applied to the entire mi+ during the vocal passages. The same audio stream is used to apply ducking in two different ways D hence the term double ducking. (s with many of the other e+amples included in this section, the main purpose of this e+ample is to help you to understand how to use &'(P'&Fs routing capabilities. The e+ample itself is of secondary importance. )n the previous e+ample, we used a send from the Oo+ track to Channels 1 and 2 on the )nstrument i+ track and then used these as (u+iliary )nputs to gently compress the )nstrument i+. ;ecause the )nstrument i+ is itself being routed to the aster, that Oo+ track send will automatically also be sent to the aster on Channels 1 and 2. :e can use this =ust to smooth out the mi+ a little.

E1a'p+e
%. $pen the file A++ *#roug# *#e 9ig# DU5I.rpp and save it as A++ *#roug# *#e 9ig# DOU2CE DU5I.RPP. !. )n either the TCP or the CP, select the 0as er Track. &ight>click on the Vo+u'e fader for the aster and ensure that the number of Channels is set to four. Close this window. 1. Display the F4 (indo% for the insert Rea5o'p. aster Track and

2. $pen the pin connector window. (s before, make sure that the (u+iliary )nput M is set to Channel 1 and (u+iliary )nput & is set to Channel 2. These should already be the default settings. P. Aet the Ra io to around !." to %. N. Display the De ec or -npu drop down list and select Au1i+iary -npu C K R. #. Play the song. 3. During the vocal passages, ad=ust the left hand vertical Threshold fader so that the compression kicks in gently. &aise the vertical (e fader by about a decibel or two. Q. ake sure that Ci'i Ou pu is selected. (n e+ample of how your settings might look is shown here.

%". ThatFs it* Iou can now save your file. These last couple of e+amples have introduced you to how you can use sidechaining for ducking. Iou can use sidechaining in con=unction with a number of other &'(P'& plug>ins, including &eaHate, &ea8Comp, &eaComp and &eaFir.

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Up and Running: A REAPER User Guide v 4.30

"?.@ Rea3a'p+o'a ic and ReaDru's

This e+ample uses the Rea3a'p+o'a ic plug>in provided with &'(P'& in con=unction with the ReaDru's track template created by 6a'es er. Iou can download this template from the &'(P'& web site. To check the current address for this, visit the &'(P'& Forum and check =amester7s signature, or do a search. (fter downloading, it should be copied into your Track Templates folder. For 8P users, this is 5:HDocu'en s and 3e ingsHUser 9a'eHApp+ica ion Da aHREAPERH*rac&*e'p+a es The template does get modified from time to time, so that the version that you download might not be e+actly the same as the one used in the description that follows. This should not matter. (lso, in the e+ample, we will using the 0-D- Edi or for demonstration purposes, but if you have a keyboard, you can use that instead.

E1a'p+e
%. Create a new empty pro=ect file and save it as ReaDru's E1a'p+e.RPP !. &ight click over the Track Panel (rea and from the menu choose -nser rac& fro' e'p+a e then your ReaDru's template. <otice that a track will be inserted, with eight individual named instances of Rea3a'p+o'a ic?000 inserted in its F8 chain. 1. <otice that each instance of Rea3a'p+o'a ic?000 is set up differently. From top to bottom, these are @ick, Anare, Perc %, Perc !, Perc 1, Perc 2, KK Cl, KK $p. Aelect any item in that list and you will see the )D) channel used for that item. Ahown here is the @ick, which uses channel % ?bottom right corner of windowB. )n this illustration, an audio sample has also been inserted. That7s the ne+t step* 2. Display the edia '+plorer D 5 r+ A+ 4 D and select a folder where your samples are stored. )n the &eaDrums F8 window select the item @ick. From the edia '+plorer window, drag with your mouse the reEuired sample file and drop it into the &eaAamp window, in the black area above the ;rowse button.

,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. !Q2

"? E 0ore REAPER Rou ing E1a'p+es

N. <ow repeat this process in the other seven &eaAamp instances, one at a time, for each of the other seven instruments, each time inserting a different appropriate sample. #. ake sure the &eaDrums track is not record armed. Aave the file. 3. (long the timeline select the first %" seconds or so. :ith your &eaDrums track selected, choose the -nser ; 9e% 0-D- - e' command to insert a )D) item. Q. Double click on this item to open the and Vie%; 0ode; 9a'ed no es. )D) 'ditor. From the menu choose Vie%; 9o e s y+e; *riang+e

%". Compose a few notes, similar to the concept shown below. Don7t copy this pattern, make a simple composition of your own.

%%. Close the

)D) 'ditor and save your file.

%!. )f you wish, you can also use &'(P'&Fs channel routing to send different parts to different tracks, where you can add F8, ad=ust panning, volume, etc. MetFs suppose we wish to apply some F8 to the kick and the snare individually. &ight click over the Oolume fader for the &eaDrums track and set the number of channels to four. :eFll start with =ust one or two. %1. Press 5 r+ * twice to add two more tracks. %2. <ame the first of these tracks Iic&, the second 3nare. %P. )n the ReaDru's track set the number of Channels to 2, and create a send to the new Iic& *rac& ?using channel 1B and the 3nare *rac& ?using channel 2B. %N. $pen the F4 (indo% for the ReaDru's track. %#. Aelect the first Rea3a'p+o'a ic?000 instance, the Iic&. Aet both of its OAT $uts to Channel 1. %3. Aelect the second Rea3a'p+o'a ic?000 instance, the 3nare, and set both of its OAT $utputs to Channel 2. %Q. <ow play the music. <otice that the @ick and the Anare have been rerouted to their respective tracks. $f course, you could now place any F8 that you wish in the F8 windows for those tracks. !". Aave the file. !%. )f you add more channels to the original &eaDrums track, you can now repeat this effect for any other of your Drum parts. 9o e: )f you download the track template ReaDru's Rac& from the &'(P'& forum, you will find that in this template all the individual tracks, along with their routing, have already been set up for you.

For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' !QP

Up and Running: A REAPER User Guide v 4.30

"?.A 0u+ i Ou pu V3*i P+ugEins

Iou may well use these functions to set up multi output OATis only once or twice but itFs well worth taking the time and trouble. This will give you a much better understanding of the inner workings of &'(P'& compared with downloading a track template.

E1a'p+e ": Using Paired Audio *rac&s

%1. &ight click over the empty area of the Track Control Panel and from the menu choose -nser vir ua+ ins ru'en on ne% rac&: %2. :hen the F8 browser window is shown, double>click on the reEuired instrument. This e+ample uses the 3>output version of Gri==+y ?2 stereo channelsB. Iou could use any multi output instrument that you wish. %P. Iou will be asked to confirm whether you want the appropriate number of tracks built for the particular instrument that you have chosen ?see rightB. %N. Click on ,es. %#. &'(P'& will now insert the instrument into the F8 chain for the original track, name it and arm it for recording. )t will also create all the additional tracks for you.

%3.Iou now have a single this e+ample-

)D) input track for the OATi together with four output audio tracks. <otice that in

Channels %.! from Track % are directed to Track !, Channels 1.2 to Track 1, Channels P.N to Track 2 and Channels #.3 to Track P. <o output is sent directly from Track % to the aster. 1. Iou7re now ready to load your instruments ?in this e+ample, select a drum kitB and to start playing.

E1a'p+e !: Using 3epara e 0-D- *rac&s

)f you want a separate )D) track for each OATi output channel, you should use this method. (gain, for the sake of the e+ercise, we7ll use Hri99ly, but you would use the same method for any other multi>output synth. %. Create a new track and name it. $pen the trackFs F8 window and add the reEuired OATi to the trackFs F8 chain.

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"? E 0ore REAPER Rou ing E1a'p+es

!. From the F8 chain Op ions menu choose the command 2ui+d "B c#anne+s of 0-D- rou ing o #is rac&. 1. Iou now have a separate )D) track for each channel. <otice from the routing that the )D) output of each of these %N tracks is sent to the track on which you originally inserted the OATi.

Iou have a number of options for assisting you with managing this set of tracks. For e+ample, you can put the )D) Tracks in one folder, name the folder, color the tracks and hide them in the i+er. To enable keyboard input for the individual )D) tracks ake sure that the OATi track is not armed for recording. Aelect all %N )D) tracks. &ight>click the &ecord (rm button and turn )nput onitoring button on for all %N tracks. For each track, set the )D) input channel, from % to %N.

"?."0 Para++e+ F4 Processing %i # #e 5#anne+ 0i1ers

Parallel F8 processing consists of splitting a signal into separate chains and applying different effects separately to these chains, rather than one after another in a single chain. 'arlier in this chapter you were introduced to this techniEue, for e+ample with the full fat vocals e+ercise. This section is going to take this idea further, both by allowing more channels and by allowing the pan setting as well as volume level for each channel to be controlled individually. Iou7ll be using the -4 $ 0i1er @10E"13 which open up more possibilities for you to split and route your audio thru different channels, then mi+ them back at the end to produce some truly creative sounds and effects. The main difference between this mi+er and the one that you used earlier is that this one works with individual mono channels. The e+ample that follows is designed to show you how this mi+er can be set up and used. (fter working thru it, you should be capable of using it for your own pro=ects.

E1a'p+e
)n this e+ample, we will send output from one instrumental track separately to a Distortion F8 and a &everb F8, then mi+ the wet and dry signals back together, panning as reEuired D all within one single track and without using any busses. To do this, weFll use the -4 0i1er @10 together with a couple of other plug>ins supplied with &'(P'&. The diagram above illustrates conceptually what we are going to achieve:e will be running the signal in parallel to the two F8. ;y doing this, we ensure that each effect is processed separately before being mi+ed. This is different from the normal F8 chain, which processes effects seEuentially. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' !Q#

Up and Running: A REAPER User Guide v 4.30

%. !. 1. $pen the file A++ *#roug# *#e 9ig# .RPP and save it as A++ *#roug# *#e 9ig# -4 0-4.rpp For the purpose of this e+ample, we are going to work on only the 2ou=ou&i track. Aolo this track. $pen the -O window for the 2ou=ou&i track. Aet the number of track channels to B then close this window. $pen the F8 window for this track. )f any F8 are already there, remove them. )nsert the F8 /3: Gui ar Dis or ion. To start with, make the various control settings similar to that shown here ?but see note below*B. 9o e: )n this case, at step P ?aboveB you should ad=ust the parameter controls for the plug>in before you open and use the pin connector. This is because you will not be able to hear or monitor any output sent to channels 1 and 2 until later, when you add the channel mi+er to the F8 chain. N. ake sure that input is from Channels % and ! only and output is to Channels 1 and 2 only, as shown above. <ow add ReaVerba e to the F8 Chain for the ;ou9ouki. Aelect a preset of your choice, ad=ust wet.dry levels as you wish, then set the $utput to Channels P.N as shown right. <ow insert the /3: -4$0i1er7@10E"13 at the end of the ;ou9ouki track7s F8 chain.

2.

P.

#. 3.

Q.

%". Play the song and e+periment with the volume levels and pan settings for your different channels. '+periment with changes also to the F8 settings. $ne suggested possible outcome is shown below. %%. ,nsolo the ;ou9ouki track. Mower the track fader to blend it back into the mi+. Aave the file when finished. $f course, this is only a simple e+ample. Iou could in effect have up to four separate F8 chains running in parallel within this track. (nd itFs very easy then to move an F8 from one chain to another, =ust by changing its output channels. The -4 series of Sesusonic plug>ins have been developed by Philip A. Considine. ( big thank you to Philip for his help in developing this e+ample.

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"? E 0ore REAPER Rou ing E1a'p+es

"?."" 0ore Para++e+ F4 Processing

The e+ample you have =ust considered demonstrates Parallel F8 processing at its simplest. ;y e+perimenting with this feature, you can really contour your sounds e+actly as you need to. Iou could for e+ample, add more plug>ins to your chains, and.or use more than N channels. (ll three streams then get mi+ed back together using the Channel i+er Plug>in. Channels % and !- Dry D the original signal, unprocessed. Channels 1 and 2- Distortion then Compression. Channels P and N- 'C then &everb.

"?."! O #er 5#anne+ Rou ing P+ugEins FOvervie%G

The list of Sesusonic and Cockos plug>ins for &'(P'& is an impressive one, and one that is still steadily growing. The following table provides an overview of some of the other channel routing plug>ins that are currently available. Iou should always check the web sites and the forums for the latest information. This section introduces you to some other plug>ins ?not used in these e+amplesB that are specifically designed for use in a multi>channel routing environment. The information below comes from te+t files supplied with these plug>ins by their author, Philip A. Considine. $bviously, these plug>ins should only be used on tracks which have more than one defined pair of channels.

P+ugEin
-4 3%i c#er

Descrip ion
This is a channel switching utility. The $utput Aource parameter is used to select which one of up to four paired inputs channel is to be monitored. ,seful for (.; comparisons. This is a variation of the Awitcher switching utility. The $utput Aource parameter is used to select which one of up to four paired inputs channel is to be monitored, and the Mevel faders allow you to ad=ust the gain independently for each pair. ,seful for (.; comparisons.

-4 3%i c#er !

For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' !QQ

Up and Running: A REAPER User Guide v 4.30

P+ugEin
-4 3%i c#0i1

Descrip ion
This crossfade utility allows you to feed up to four input pairs to two busses then mi+ those busses to output channels %V!. The destination for each of the four paired inputs can be set to $ff, (, ;, or (V;. Takes the signal from an input channel pair and modifies the phase according to the selected mode. The modified signal is then output on the selected output channels. $nly the selected output channels will be modified so, for e+ample, a signal received from inputs %V! and output on 1V2 will still be present in its original form at outputs %V!. The )nput parameter is used to select which paired channels are used for the input. The Phase ode can be set to <o Change, )nvert Meft Channel $nly, )nvert &ight Channel $nly or )nvert ;oth Channels. The output parameter selects the output channels.

-4 P#aseAd6us ingRou er

"?."3 REAPERNs Rou ing -n erface

)f you are using multiple track channels, sends and receives ?as do many of the e+amples in this sectionB, then you should consider keeping the &outing atri+ in view. Iou can use your routing matri+ to make ad=ustments to any of your sends and receives, or to specify the number of channels reEuired for any track. Aome e+amples are summarised below. &ight click over any track name ?as shown above rightB to display the TrackFs &outing :indow and change the number of Track Channels, or to ad=ust the parameters of any Aend or &eceive associated with that track. &ight click over the Aend.&eceive signal at any intersection on the &outing atri+ to ad=ust any of the parameters for that Aend or &eceive ?as shown below rightB. Click over any vacant intersection on the &outing atri+ to create a Aend.&eceive at that point. &emember, of course, that you can also create, remove and manage sends and receives in the TCP and the CP. )n either case, you can click on any trackFs -O button to display that trackFs &outing :indow, or right>click over the -O button and use the flyout menu to easily add a Aend or &eceive. <otice also that the three different types of send are represented in the &outing atri+ by three different symbols, as shown left. (s shown, from top to bottom these are Pre Fader FPos F4G, Pos Fader FPos PanG, and Pre F4. )n each case, the height of the large thick bar indicates the send volume level. The flow charts in Chapter P will help you to understand the differences between these.

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"? E 0ore REAPER Rou ing E1a'p+es

"?."4 0u+ ic#anne+ *rac& VU 0e ers
:hen a track consists of more than ! channels, you can choose whether to have all channels or only channels % and ! displayed in the track7s O, meter ?track panel and mi+er panelB. &ight>click over the track7s O, meter then choose the command *rac& VU 'e er to access the toggle command 3#o% fu++ 'u+ ic#anne+ 'e ering Fno 6us c#anne+s "K!G. )n the e+ample shown here, this option has been disabled for the first of the tracks shown and enabled for the second. This action is also available from &'(P'&7s main menu, using the *rac&, 0u+ ic#anne+ *rac& 0e ering command.

"?."? 3urround Panning %i # Rea3urround

Aurround sound production is a comple+ topic. )t would be beyond the scope of this ,ser Huide to attempt to cover the principles, theory and practical issues that it involves. :hole books have been written on the sub=ectyou can also consult various web resources, such as 4The &ecording (cademy7s Producers and 'ngineers :ing &ecommendations for Aurround Aound Production5 ?available as free PDF downloadB. &'(P'&7s surround sound production capabilities can be found in three main areas-

For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' 1"%

Up and Running: A REAPER User Guide v 4.30

%. The ability to record in multichannel format. The method for doing this is e+plained in Chapter 1. !. &'(P'&7s channel routing capabilities. 1. The &eaAurround surround panner. Thus, the &'(P'&>specific issues that you need to be aware of for surround sound production are-

Recording
&ecord each track using the settings most suitable for that track. For e+ample, for a lead vocal you might use a two channel track with a single mono input ?one micB. For a piano, you might record in stereo with two mics. For ambient sounds you might prefer a four channel track with four mic inputs.

Rou ing
&'(P'& offers you various routing options. For e+ample, you can insert &eaAurround into each track individually, with each track directly routed to the aster. (nother option is to create sends from all tracks to a single Aurround i+ing ;us and use a single instance of &eaAurround there, disabling direct sends from individual tracks to the aster. The former method gives you greater fle+ibility and more control. Iou will also need to set up the necessary routing for your aster outputs to ensure the correct signal flow from your aster to your surround speakers. ( possible e+ample of this for P.% surround sound is shown here ?rightB.

Rea3urround
&eaAurround, like any other plug>in, can be inserted into a track7s F8 chain from the F8 ;rowser. Kere we are assuming that you are opting for the method of inserting &eaAurround into every track. <ote that Iou should place &eaAurround in the track7s F8 chain. $ften you will want this to be at the end of the chain. Kowever, this might not be the case if, for e+ample, you are using a multi>channel delay effect, which most likely you will want to be after &eaAurround. (fter inserting &eaAurround, select one of the options from the setup drop down list ?above leftB. Aelect the same option for all tracks. )nput levels and positions can be set and locked. :hen you select a setup, the correct number of output channels are automatically added to the track. )n the e+ample here, P.% surround is selected, so the track is allocated si+ channels. )n the e+ample shown below ?ne+t pageB, a track with two channels and a mono media item ?Oo+ i+B displays two channel inputs, each with its own fader?which can be set to Hain or MF'B as well as solo and mute controls. Double>click on any input to rename it. ;ecause P.% surround has been selected, there are si+ channel outputs. <otice that these can be soloed and.or muted in any combination. 'ach also has its own fader- these can be set to Hain or )nfluence. ,se the pin connectors on other track F8 to direct the outputs of those F8 to the various channels, as reEuired. &efer back thru this chapter for numerous e+amples of selecting F8 pin connectors.

,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. 1"!

"? E 0ore REAPER Rou ing E1a'p+es

Iou should also insert &eaAurround at the end of the aster F8 chain. Channel inputs can be positioned by clicking and dragging them across the display. )n addition, there are two further sets of controls in the &eaAurround window. The three Edi drop down lists and their accompanying rotaries can be used as controls with any three of the available items shown ?rightB. These include Meft.&ight, ;ack.Front, Mow.Kigh, ;ack Meft.Front &ight, Front Meft. ;ack &ight, '+pand.Contract, &otate, MF' Aend, Diffusion Mevel and Diffusion ;ias. There is also an option to Coc& inpu c#anne+ posi ions and +eve+s. The three hori9ontal 3pace si=e faders can be used to ad=ust the three dimensions of the surround environment, width, depth and height, with the fourth fader acting as a 9oom control. The various -npu s and Ou pu s controls can be used to mute, solo and or ad=ust the levels for Hain or Mow FreEuency 'ffects ?inputsB or Hain or )nfluence ?$utputsB. )n the e+ample shown here, the Aurround Panner has been inserted into a 4normal5 two channel track with a mono recorded media item. The Aurround Panner therefore finds D and displays D only two inputs this time. ;ecause P.% surround has been selected as the surround mode, the input from the two channels can be directed to the si+ channels shown. Aee also Chapter %3, &endering in Aurround Format.

"?."B Rou ing o$fro' O #er App+ica ions %i # Re(ire

(ll of the e+amples that we have looked at up to now have involved routing audio or )D) data within &'(P'&. :e7re now going to take a look at how your music can also be routed to and from other applications. ,sers of &e:ire will be pleased to know that &'(P'& supports &e:ire ?!.NB. &e:ire is a technology =ointly developed by Propellerhead Aoftware and Ateinberg to allow applications to share audio, )D) and synchroni9ation data. (udio and )D) data are transferred between the two applications in real>time, allowing you to use the features in each application as if they were one. &e:ire functionality is automatically installed along with &'(P'& on the $A 8. :indows users need to make sure when installing &'(P'& that they have &e:ire selected and enabled on the 5#oose co'ponen s page of &'(P'&7s )nstall wi9ard under Addi iona+ func iona+i y. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' 1"1

Up and Running: A REAPER User Guide v 4.30

)n a &e:ire session, the first application acts as the host, and the second application acts as the slave. The slave receives and sends signals via the host application. &'(P'& can be used as either host or slave. For more comprehensive general information and documentation about &e:ire, visit # p:$$%%%.prope++er#eads.se$ ec#no+ogies$re%ire$ The &e:ire system uses mi+ers, panels, and devices. i+ers are the host applications which typically do the seEuencing at one end and the final mi+down at the other end. ( device is a dynamic link library that only generates sound but has no user interface of its own. ( panel is a graphical interface for setting the parameters of one device. For e+ample, you might use &'(P'& as your mi+er and Propellerhead &eason as your synthesi9er. )n this case &eason would provide device and panel to &'(P'&, which could then send midi commands, sync timing and mi+ &eason7s output into its own effects chains. &e:ire can be used with any track?sB within a &'(P'& pro=ect. Display the track7s F8 chain and select &e:ire from the list of plug>in categories ?left columnB. This will display ?in the right columnB a list of all &e:ire enabled applications that have been installed on your computer. Aelect the application ?4slave5B that you wish to use D for e+ample, this might be &e:ire (bleton Mive, &ewire &eason or ?as in the e+ample shown hereB &e:ire FMAtudio. )n a &e:ire session, the first application acts as the host and the second application as the slave. The slave receives and sends signals via the host application. Aelecting your &e:ire enabled application will cause the application to be opened. Iou can use &e:ire to send )D) data to the slave application ?as shown in the e+ample aboveB, to route audio from the slave application into &'(P'&, or to route )D) data from the slave application into &'(P'&. ;y default, the tempo for both applications is set by the &e:ire host. Kowever, there is an option in &'(P'&7s &e:ire window to allow the slave application to set the tempo. 9o e: &'(P'& can be opened in slave mode from the :indows Atart, (ll Programs menu, or by first opening the host application and by selecting &'(P'& as the slave application there. Iou can also ?in both $A8 and :indowsB &e:ire &'(P'& to itself by choosing &ewire &'(P'& from the (dd F8 window. Further information about using &e:ire with &'(P'& can be found in the &'(P'& :iki at 7 %i&i.coc&os.co'$%i&i$inde1.p#p$Re(ire

"?."> -n roducing ReaRou e

&ea&oute is a feature uniEue to &'(P'& that offers you other ways of sharing data ?audio and time with other applications. &ea&oute is covered in detail in its own chapter, Chapter !%. )D)B in real

,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. 1"2

"B E Au o'a ion %i # Enve+opes "B Au o'a ion %i # Enve+opes

"B." Unders anding Au o'a ion
(utomation is used to ensure that when your tracks are played, recorded changes in such things as volume level or panning can be recalled with the music in real time. (t its simplest, for e+ample, automation can lift the volume of a lead instrument during a particular break or passage, or add a little presence or warmth to the odd phrase here or there on a vocal track, to make it stand out in the mi+ a touch more. (n e+ample of a simple envelope ?for OolumeB is shown here. The envelope is in this case displayed below the media item. )n the TCP you can see an envelope panel with its own envelope controls, =ust below the track controls. :hen the track is played, the volume of the track will rise and fall, following the shape of the envelope. )n this second e+ample ?belowB the same envelope is displayed this time not in its own lane but on top of the media item. ;oth methods have their advantages and disadvantages. The first makes it easier to work with the envelope, but uses more screen real estate. The second takes up less space, but makes tasks such as editing that little bit trickier. :hether your envelopes are initially created in separate lanes or over the media item will depend on your 'diting ;ehavior 'nvelopes Preference Aettings. &'(P'& features two main types of automation D one method uses envelopes alone, whilst the other uses a rather more comple+ ?and powerfulB techniEue known as parameter modulation. This chapter will deal with creating and using envelopes. Parameter modulation will be covered in Chapter %#.

"B.!

Au o'a ion Enve+ope 0e #ods

&'(P'&7s various automation modes essentially make available to you two main ways of using envelopes for automating your pro=ects. These are writing automation and manually creating envelopes. (ri ing Au o'a ion: :hen writing automation, you instruct &'(P'& to remember your actions D such as fading a volume control up and down D as your pro=ect is played. These actions are used to create an envelope which is then reproduced when you play back or mi+ down the track. There are three different methods that you can use to write such envelopes D write, touch and latch. :eFll get round to e+plaining the differences shortly. 0anua++y 5rea ing Enve+opes: (s an alternative to using your faders to create envelopes, you can shape them manually. This gives you a very fine degree of control over your pro=ect. Iou can draw your envelope curves freehand, add points to them at will, and use your mouse to manually move these points up or down. 'nvelopes created in this way will behave in e+actly the same way as if actual fader movements had been recorded. Trim.&ead mode is used when you are creating or editing envelopes in this way. )f you wish, you can write envelopes in, say, latch mode then edit them in Trim.&ead mode.

:hichever mode is currently selected is displayed on a track7s envelope button. :e7ll e+plore the different automation modes in detail in the sections that follow. ;oth have their advantages and you can use any combination of modes on different tracks in your pro=ect. :ith both recorded and manual envelope automation, it is perfectly possible ?and Euite easyB to edit the automation instructions afterwards, or to remove them altogether if thatFs what you want to do. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' 1"P

Up and Running: A REAPER User Guide v 4.30

"B.3 *#e *rac& Enve+opes (indo%

(ny trackFs envelopes can be managed from the Enve+opes (indo% for that track. This is opened by clicking on the trackFs Enve+ope button in either the TCP or CP. Iou can use this window, for e+ample to Aet the Au o'a ion 'ode for the track. Create an envelope ?e.g. for Oolume, Pan or ute for a track or sendB. To show or hide an envelope from view. To (rm an envelope or Disarm it.

)n addition, this envelopes window includes buttons that can be used for such global options as showing or hiding all envelopes on that track. These issues will be e+plained and e+plored in the pages that follow. The )ig#+ig# bo+ can be used to help you find what you are looking for more easily. For e+ample, type volume in the highlight bo+ and all items whose name includes volume will be highlighted. <otice also that any plug>ins that have been placed in the trackFs F8 chain will also be listed in this window. )n this e+ample, we have &eaComp. ;y clicking on the small K symbols ne+t to the plug>inFs name you can open up a list of plug>in parameters for which you can also create envelopes. :eFll see some e+amples of this soon. Checking the option to 3#o% +as ouc#ed F4 para'e ers on+y can help prevent screen clutter.

"B.4

Avai+ab+e *rac& and 3end Enve+opes

The following are the automation envelopes that by default are available for all tracks and sends. 'nvelopes for plug>ins and F8 will be discussed later in this chapter. Enve+ope Vo+u'e Pan (id # Vo+u'e FPre F4G Pan FPre F4G (id # FPre F4G 0u e 3end Vo+u'e Descrip ion (d=usts the volume of the TrackFs $utput, after, for e+ample, any item or track F8 have been applied. This sets the level of the signal that is sent to the aster Track. oves the balance pan control more towards the left, right, or dead center- the signal that is sent post F8 from the track to the aster Track. oves the width control more towards the left, right, or dead center- the signal that is sent post F8 from the track to the aster Track. (d=usts the volume of the track signal that is fed to the trackFs F8 chain. This is generally eEuivalent to the Hain control that you can find on some desks and mi+ers. Aimilar to Pan control but before track F8 or track faders are applied. Aimilar to :idth control but before track F8 or track faders are applied. This envelope has effectively only two states D $n and $ff. )t is used to mute passages of a track. (d=usts the volume of the track signal that is sent to the destination track. '+actly how this is applied will in part be determined by whether the Aend itself is defined as Post Fader ?Post PanB, Post F8 or Pre F8. (d=usts the panning of the track signal that is sent to the destination track. '+actly how this is applied will in part be determined by whether the Aend itself is defined as Post Fader ?Post PanB, Post F8 or Pre F8. This envelope has effectively only two states D $n and $ff. )t is used to mute passages on a send.

3end Pan

3end 0u e

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"B E Au o'a ion %i # Enve+opes

"B.? (ri ing Au o'a ion

To create automation envelopes using the (ri e feature, use this method)n the CP or TCP, click on the Enve+opes button ?shown rightB to open the envelopes window for that track. <otice that the envelope button displays the currently selected automation mode for that track. )n the e+ample shown, this is Trim. Aelect the item you wish to automate, and make sure to also select the options Visib+e and Ar'. Aet (utomation mode to (ri e. Close the 'nvelopes window. Position the 'dit Cursor where you wish to start. Play the song. (s you do so, ad=ust the on screen control which controls the parameter that you are automating. Atop play when finished. &ight click over the 'nvelope button for that track and select *ri'$Read or Read. Play the song. Misten and look* )f you selected Read mode, the faders will move up and down as the automation is applied. <ote that if you prefer, instead of opening the envelopes window, you can right>click on the track7s envelope button and make your choices from the conte+t menu ?see rightB. *ip: ,sing Vo+u'e and Pan envelopes on tracks is such a common activity that the shortcut keys V and P are by default assigned to toggle the display of these two envelopes.

Au o'a ion (ri e E1a'p+e

%. $pen your file A++ *#roug# *#e 9ig# .RPP. Aave it as A++ *#roug# *#e 9ig# AU*O.RPP. :e are going to add an automation envelope to the ;ou9ouki track to fade this track up a little in the passage between the first and second verses of this song. !. ,se your mouse to increase the height of the 2ou=ou&i track. This isnFt absolutely necessary, but makes it easier to see what you are doing.

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Up and Running: A REAPER User Guide v 4.30

1. )nsert the /3- U i+i y$Ci'i er plug>in to the master track and set its threshold to Q!.0. This is a precaution against clipping. Position the play cursor =ust before the end of the first vocal passage at about the 2" second mark. 2. <ow click on the Enve+opes$Au o'a ion button for the 2ou=ou&i track. Aelect Vo+u'e and make it both Visib+e and Ar'ed. Aelect the automation mode (ri e for this track ?see aboveB. P. Close the 'nvelopes window. <otice that the Oolume fader for this track is now colored red and a Oolume envelope has been created. The 'nvelope button now reads (ri e. N. Play the song from about the 23 sec mark for about %P seconds. #. (s the instrumental break starts, use your mouse to raise the track fader for the ;ou9ouki volume ?not the envelope volume faderB by about a three decibels. Kold it there, then at the end of the instrumental break lower the fader to its original position. Atop play. 3. &ight click over the 'nvelope button for the ;ou9ouki track and choose Au o'a ion 0ode: Read from the conte+t menu. Room closely into the part of the song that goes from about 2P secs to about NP secs. Q. The fader area for the Oolume control from this track will now be green, and your automation envelope should be clearly visible ?see rightB. %". Play the song. The volume fader for your bou9ouki will automatically move up and then down in accordance with the movements that you recorded. Aave this file. 9o e: Iou do not need to select (utomation &ead mode in order for the automation to take effect. Trim.&ead for e+ample mode will also do this, but without moving the faders. That7s because during Trim.&ead mode you might wish to make manual ad=ustments yourself, using the faders. IouFll find a more detailed e+planation of the various automation modes later in this chapter.

0odifying #e Enve+ope
)tFs very likely that you wonFt get the e+act settings for your automated faders %""J correct first time. To fi+ this, either use (utomation *ouc# mode to write changes to your envelope, or edit the envelope by hand.

"B.B

Enve+ope Poin s Op ions

&ight click on the envelope button on the main toolbar for a number of options that will help determine envelope behavior. These are also available on the Op ions menu ?Enve+ope poin s commandB. The option to 0ove enve+ope poin s %i # 'edia i e's should be enabled if you wish an envelope to follow its media item when that item is moved. ;e careful how you use Enve+ope poin se+ec ion fo++o%s i'e se+ec ion. This enables you to move all points within a time selection by clicking and dragging on any one of them. )f you want to move only one point ?or a selection of pointsB within a time selection, make sure that this option is disabled. Edge poin s can be used to make it visually easier for you when you are moving a group or selection of envelope points. The option to Reduce enve+ope poin da a %#en recording or dra%ing au o'a ion should be enabled if you find that &'(P'& is creating more points than you want when, for e+ample, you write automation data, using either your mouse or a control surface.

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"B E Au o'a ion %i # Enve+opes

*o reduce #e nu'ber of poin s on an e1is ing enve+ope #a #as a+ready been recorded: %. !. 1. 2. P. N. #. Aelect ?click onB the envelope. Define the reEuired time selection. (ll envelope points in that selection will be selected. &ight>click over the envelope. From the menu, choose Reduce 9u'ber of Poin s. Aelect ?probablyB Poin s in i'e se+ec ion on+y or ?possiblyB A++ Poin s. (d=ust the fader until the number of points shown looks about right. (n e+ample is shown on the right. Click on OI.

"B.>

(ri ing 0u e Au o'a ion

$ne rather special way of using automation is in con=unction with a trackFs 0u e button to automatically mute unwanted passages of a track. The procedure for doing this is outlined below Click on the trackFs Enve+opes$Au o'a ion button to display the envelopes window. Aelect the 0u e envelope and set the mode to (ri e. Then close the 'nvelopes window. The 'nvelopes.(utomation button will read (ri e and the armed mute button will be highlighted in red. <otice ?aboveB how this is displayed when set to this mode. <ow play the track. (s you do so, click on the trackFs that you reEuire to be muted. ute button at the start and end of any passages

:hen finished, stop the playback. (utomation mode for this track should automatically change to Trim.&ead ?unless this default setting has been changed in your 'diting ;ehavior, (utomation preferencesB.

)n the e+ample shown below, a vocal track is muted when it is not intended to be heard. Read mode has been selected. :hen the track is played back, the color of the ute button changes for the duration of the muted passages.

"B.@

Au o'a ion 0odes

(utomation mode can be set as already shown from inside the 'nvelopes.(utomation window or by right> clicking on the track envelopes.automation button. )n fact, there are a number of ways that this can be done Aelect the reEuired mode from the 'nvelopes window. &ight>click on the 'nvelopes.(utomation button and select the reEuired mode from the conte+t menu. )n the TCP, right click over any automation lane and select the reEuired mode from the conte+t menu. From the main menu, choose *rac&; 3e rac& au o'a ion 'ode ?or right>click over the track number and select this from the conte+t menuB.

The following table summari9es the five available automation modes.

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Up and Running: A REAPER User Guide v 4.30

Au o'a ion 0ode *ri'$Read Descrip ion '+isting envelopes are applied, but on>screen controls do not move. Trim.&ead mode might seem strange at first, but it does bring you a useful benefit. Iou can use a trackFs controls for overall changes. )n Trim.&ead mode fader movements are not recorded. For e+ample, ad=usting a trackFs Oolume fader in this mode will raise or lower the volume for the whole track relative to the envelope. (pplies envelopes and moves controls for armed items, but does not write or remember any changes that you make to them. :rites and remembers any changes that you make to settings, and creates new points on e+isting track envelopes. Changes commence when you first ad=ust a setting, and continue to be remembered until playback stops. This is similar to Match, but stops making changes to envelope points when you stop ad=usting them. )f using a )D) controller, however, you may find that Touch mode functions in the same way as Match mode. :rites and remembers current settings as edit points, along with any changes that you make to settings for armed items during playback. )n this mode, previously written envelopes for armed items will be over written. &'(P'&7s (utomation preferences include an option to automatically switch to another mode immediately after recording automation in :rite mode. ;y default, it will switch to Trim.&ead.

Read Ca c#

*ouc#

(ri e

<ote that when you are in Match, Touch or :rite mode, an envelope can also be armed by clicking on the Ar' Record button in its automation lane ?where one e+istsB. &emember also after using :rite, Match or Touch mode to change to &ead or Trim.&ead mode, to prevent further automation from being accidentally recorded.

"B.A

G+oba+ Au o'a ion Override

The Hlobal (utomation $verride button on the far left of the transport bar can be used to set certain options for your envelopes globally. &ight click on this button to display the menu which can be used for two main purposes. These are To toggle bypass on.off for all envelopes. To select a single automation mode ?such as Trim.&ead or &eadB for all tracks. Toggle display of all active envelopes. ( global option can be removed by the 9o g+oba+ override command. 'ach track will then be returned individually to its former state, with its previous individual automation mode and bypass settings restored.

"B."0 *#e Enve+ope Pane+ 5on ro+s

The envelope panel7s hori9ontal fader is used to write automation ?write, latch or touch modesB, show automation changes ?read modeB or ad=ust the parameter value for the entire track or selected envelope segment ?trim.read modeB. :hen a track has other envelopes that are not displayed in lanes, you can click on the envelope name ?in the e+ample shown this is OolumeB and choose from the list a different envelope to display in its place. $ther standard controls are the 2ypass toggle button and ne+t to that the )ide$5+ear button which can be used to either hide an envelope or clear it altogether. For F8 parameter envelopes there may also be some additional controls, for e+ample to enable parameter modulation or learn mode for that parameter ?see later in this chapter and Chapter %#B. ,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. 1%"

"B E Au o'a ion %i # Enve+opes

"B."" 0anua++y Ad6us ing Enve+opes
(s an alternative to writing automation to define and shape your envelopes, you can use your mouse directly within the envelope lane. This is especially useful, for e+ample, when you can see from observing the waveform that there is a peak that needs ad=usting. (mongst the actions that you will commonly use for this are 3#if 5+ic& for adding points to an envelope. 5 r+ 5+ic& Drag for freehand drawing of envelope points and curves. 5+ic& Drag for moving envelope segments freely up or down or envelope points in any direction. The first of these actions is e+ecuted by holding 3#if while clicking on the envelope, the third by simply clicking. These can be swapped in your ouse odifier ?'nvelope segmentB preferences if you wish. )n this e+ample, we will assume that 5+ic& Drag is used to ad=ust segments, and 3#if 5+ic& to add points. )n the e+ample that follows, you will use the mouse to raise the volume of your ;ou9ouki volume envelope a little for the duration of the short instrumental break that occurs between the second and third verses. Iou will then draw an automation curve over part of the vocal track. This e+ample assumes that the default mouse editing behavior settings are as shown above.

E1a'p+e
%. Kover your mouse over the envelope, =ust before the start of the second instrumental break. This will be at or near % min 1N seconds. The mouse will change to a vertical double> headed black arrow. !. Kold 3#if while you click the mouse on the envelope to create a point. 1. &epeat this three times as shown ?rightB, so that you have two points =ust before the instrumental break and two points =ust after it. 2. <ow hover the mouse anywhere between the second and third point. Click and hold down the mouse, then drag upwards to raise the volume of this envelope a little, as shown in the second illustration. P. Aave this file. N. Display the track7s 'nvelope :indow and make sure that automation mode for this track is set to Read and that the Vo+u'e envelope is selected and set to Visib+e and Ar'. #. Play back the song. 3. <otice that the ;ou9ouki volume will now be faded up for both instrumental passages in this song and down after them. Q. <ow select the Vo1 track and press V to display the Oolume envelope for this track. Room to the passage from about % min " sec to % min %Q secs. :e are going to make this passage a little louder. %". Kover the mouse =ust above the envelope at %-"". Kold down the 5 r+ key. The mouse cursor will change to a pencil. Atill holding 5 r+ drag the mouse along to about the %-%Q mark ?see above rightB then release the mouse. The volume envelope will have been drawn by this action. %%. &emember that any e+cessive points that have been inserted by this action can be removed ?as in the earlier e+erciseB using the Reduce nu'ber of poin s command. %!. Aave the file.

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Up and Running: A REAPER User Guide v 4.30

"B."! Using #e 0ouse %i # Enve+opes
The above e+ercise has introduced you to some e+amples, but there are many other techniEues and mouse tricks that can be used for manipulating and managing envelopes and their nodes. This table is a summary of the most important. For a fully comprehensive list, consult the ouse odifiers page of your Preferences. -n order o do #is ... 3e+ec a++ poin s on enve+ope inside i'e se+ec ion. Dra% and s#ape enve+ope in free#and 'ode. Add a poin . De+e e enve+ope poin . 3e+ec 'u+ ip+e enve+ope poin s. 3e+ec a++ poin s in an enve+ope. 3e+ec a++ poin s %i #in #e +asso area. :.you need o do #is 5+ic& and drag in envelope lane ?not on envelope itselfB to create time selection. 5 r+ Drag anywhere on, above or below the envelope 3#if 5+ic& on envelope A+ 5+ic& on any envelope point Kold 5 r+ while clicking on envelope points one at a time 5+ic& on any point in an envelope, then press Ctrl ( 5+ic& on a point, then use the &ight>Click>Drag mouse method to lasso ?'arJueeB a portion of an envelope. &elease mouse :hen you have several points selected, rig# c+ic& over any selected point 5+ic& and drag any point in the selection. 5 r+ A+ Drag on any envelope point 5+ic& and hold 'ouse on any envelope point, hold both the 5 r+ and 3#if keys while then dragging any envelope point either vertically or hori9ontally. Doub+eEc+ic& on envelope point

App+y an enve+ope co''and o a se+ec ion of poin s. 0ove a poin or se+ec ion of poin s free+y. Fine+y ad6us a poin 8s ver ica+ posi ion. A++o% an enve+ope poin o be 'oved ver ica++y or #ori=on a++y on+y. Rese poin o cen er Fdefau+ va+ueG.

ost of these defaults can be changed in your Edi ing 2e#avior; 0ouse 0odifiers preferences settings.

"B."3 Enve+ope Edi 0ouse 0odifiers

This probably won7t be the very first thing you7ll want to do, but after you have been working with envelopes for a while you might wish to consider changing some of the default mouse modifier settings so as better to suit your personal workflow reEuirements. There are several conte+ts relevant here D 'nvelope lane ?left clickB , 'nvelope segment ?left dragB, 'nvelope point ?left dragB, 'nvelope segment ?double>clickB and 'nvelope point ?double>clickB. For e+ample, if you manually add points to envelopes a lot, you might wish to consider changing the default behavior for 'nvelope double>click from &eset point to default value to the action 'nvelope- )nsert new point at current position. )f hori9ontal ad=ustment of envelope points is important to you, consider assigning ove envelope point hori9ontally as one of your envelope point modifier instead of =ust ove envelope point. (lso, by default, double>clicking on an envelope7s control panel will cause all points on the envelope to be selected. This too can be changed. There7s more about mouse modifiers in Chapter %1.

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"B E Au o'a ion %i # Enve+opes

"B."4 0anaging Au o'a ion Enve+ope Disp+ay
&'(P'& offers you a fle+ible range of options to determine how you display your automation envelopes. For any track or track you can choose to Display all automation envelopes in separate lanes, or Display all automation envelopes over the media items, or Display some envelopes in lanes and others over the media items, or Display some envelopes and hide others, or Kide all automation envelopes. )n the e+ample shown here, a track is displaying three envelopes. D one each for Pan, Track Oolume and the volume of a send to a reverb track. $ne of these D Pan D is displayed on top of the actual media items. The other two each have their own lanes. The Peaks.:aveforms preferences option to Dra% fain pea&s in au o'a ion enve+ope +anes has been enabled. The summary table e+plains how you use these options.

Iou should also check the preference ?'diting ;ehavior, (utomationB (#en adding vo+u'e$pan enve+opes; app+y ri' o enve+ope and rese ri'. Iour safest option is to set this to 9ever to ensure that the envelope will be placed in the vertical center of the automation lane, thus leaving adeEuate room both above and below the envelope for manual editing.
-n order o do #is : )ide an individua+ enve+ope : you need o do #is &ight click over the envelope and choose )ide Enve+ope from the menu, or G )n the envelope panel, click on the )ide$5+ear button and choose )ide Enve+ope. Disp+ay a curren +y #idden enve+ope 5#ange #e enve+ope disp+ayed in a par icu+ar +ane 0ove an enve+ope fro' i s o%n +ane o over #e 'edia i e'FsG Click on the Enve+opes$Au o'a ion button in the TCP and check the Visib+e bo+ for that envelope. )n the TCP, right click over the envelope name and choose another parameter from the list. &ight click over the envelope and disable the 3#o% enve+ope in +ane option, or G Click on the )ide$5+ear button in the envelope panel and choose 0ove o 'edia +ane. &ight click over the envelope and enable the 3#o% enve+ope in +ane option )n the TCP, right click over the envelope button and choose 3#o% a++ visib+e rac& enve+opes o enve+ope +anes from the menu. )n the TCP, right click on the envelope button and choose 3#o% a++ visib+e rac& enve+opes o 'edia +ane from the menu.

0ove an enve+ope fro' over #e 'edia i e' o i s o%n +ane 3#o% a++ visib+e enve+opes in individua+ +anes 3#o% a++ visib+e enve+opes over #eir 'edia i e'FsG

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Up and Running: A REAPER User Guide v 4.30

-n order o do #is : 3#o% a++ ac ive enve+opes : you need o do #is )n the TCP, right click over the envelope button and choose 3#o% a++ ac ive rac& enve+opes, or G $pen the Enve+opes$Au o'a ion %indo% and click on 3#o% a++ ac ive. )ide a++ enve+opes )n the TCP, right click over the envelope button and choose )ide a++ rac& enve+opes, or G $pen the Enve+opes$Au o'a ion %indo% and click on )ide a++. :hen you open the 'nvelopes window, all potential envelopes for that track are listed. The active envelopes are those displayed with a check mark against their name. Iou can think of a potential envelope as being one that is lurking invisibly in the background but has not been activated, whereas an active envelope is one that you have chosen to use. )n the e+ample shown here, this track could have up to ten envelopes, one for each of the items listed. Kowever, it actually contains only three active envelopes, one each for Oolume, Pan, and Track N Aend Oolume. $f these, we have chosen to make only the first three visible. )f we were to add some plug>ins ?such as Delay, 'C or compressionB to this track we would immediately create more potential envelopes.

"B."? *#e Enve+ope Pane+ 5on ro+s

(n envelope displayed in a lane can have its behavior and characteristics modified from within the TCP, using its fader, its buttons and its conte+t menu. For e+ample )n *ri'$Read mode, use the hori9ontal fader to raise or lower envelope for its entire length or for a particular time selection. For e+ample, with no time selection active, sliding a pan envelope7s fader control left would cause panning for the entire track to be moved further to the left ?maintaining the relative movement between e+isting pointsB. )f a time selection is active, then the envelope would be ad=usted only within that time selection. ,se the 2P button to toggle bypass on and off.

&ight clicking over the envelope name in the TCP produces a menu which includes the following ( list of all available envelopes for this track ?standard track and send parameters plus any F8 parametersB. Choose one of these to change the envelope displayed in this lane. Oarious show.hide envelope options. ( list of automation modes- this is one way to change a track7s automation mode.

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"B E Au o'a ion %i # Enve+opes

"B."B 0oving and 5opying Enve+opes %i # - e's
Iou can choose whether or not to move and copy automation envelopes with media items by setting the option to 0ove enve+ope poin s %i # 'edia i e's on or off. This is accessed by right clicking on the 'nvelope tool on the main &'(P'& toolbar, or by choosing Enve+ope poin s from &'(P'&7s $ptions menu. Iou can use the (ctions editor to assign a shortcut key to toggle this action on and off. )f this option is turned off, then envelopes will not be moved or copied with the media items. )f this option is turned on, then the envelopes will be moved or copied with the media items. (n e+ample of this is illustrated on the right. ( selected portion of the media item on the top track is being copied to the track below it using the 5 r+ drag and drop method. Iou can also specify whether or not you want to Add edge poin s ?new envelope points at the start and end of the time selectionB when the item is being moved or copied. <otice that not only is the envelope copied with it, but also that because the option to show guidelines is also on, there are guide lines displayed which can help you when positioning the item that you are copying.

"B."> 0anaging and 0anipu+a ing Enve+opes

The 'nvelope Point and 'nvelope Aegment right>click conte+t menus both contain commands and options that are there to help you manage and manipulate your envelopes. :hich of these two menus will appear depends on whether your mouse is hovering over an actual point or over a segment when the right button is clicked. )n the table below, those commands which are on the 'nvelope Point menu only are indicated by ? PG. 5o''and 3e poin va+ue : FPG E1p+ana ion Displays the 3e Enve+ope Poin Va+ue dialog bo+. Can be used to changes the value, position, and.or shape of the current point. $ptionally, you can assign Doub+e 5+ic& ?under Preferences, odifiers, 'nvelope PointB to Open enve+ope poin edi or. 3e poin s#ape FPG ouse

Changes the shape of the current point. The si+ available shapes are Minear, AEuare, Amooth, Fast Atart, Fast 'nd and ;e9ier. These are e+plained in more detail shortly. (llows you to choose a shape for multiple envelope points. The si+ available shapes are Minear, AEuare, Amooth, Fast Atart, Fast 'nd and ;e9ier. These are e+plained in more detail shortly.

3e s#ape for se+ec ed poin s

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Up and Running: A REAPER User Guide v 4.30

5o''and 3e enve+ope defau+ poin s#ape E1p+ana ion Aets shape for future points. The si+ available shapes are Minear, Amooth, Fast Atart, Fast 'nd, AEuare and ;e9ier. These are e+plained in more detail shortly. 3e+ec a++ poin s Unse+ec a++ poin s 3e+ec a++ poin s in i'e se+ec ion 5opy poin s Aelects all points in current envelope. ,nselects all points in current envelope. )f a time selection is currently active, all points on this envelope that fall within the time selection will be selected. Copies all points in current selection into clipboard. 9o e: To apply a command to an e+isting selection of envelope points, you should hold 3#if while you right click over the envelope. This ensures that the selected points remain selected when the conte+t menu is displayed. 5u poin s De+e e poin FPG De+e e se+ec ed poin s De+e e poin s in i'e se+ec ion Cuts all points in current selection into clipboard. Deletes the envelope point. Deletes all envelope points in current selection. )f a time selection is currently active, all points that fall within the time selection will be deleted. Ahown here is a selection of points before and after using this command.

-nver se+ec ed poin s

Causes all selected points to be inverted relative to their neutral position. For e+ample, a point on a Pan envelope set at P"J left would be changed to P"J right. :ith items such as Oolume which use a logarithmic scale, the calculation is less obvious. Aets all selected points back to a neutral position. Ahown here is a selection of points before and after using this command.

Rese se+ec poin s o =ero$cen er

Reduce nu'ber of poin s :

(llows you to reduce the number of envelope points within a time selection or for the whole envelope. This has already been e+plained in detail. Toggles armed status of envelope on and off. ( toggle command which moves the envelope into or out from its own envelope lane. Kides the envelope but keeps it active. Toggles an envelopeFs bypass status. Clears all points on an envelope, restores it to a straight hori9ontal line. Iou will be asked if you wish also to remove the envelope.

Ar' enve+ope for recording 3#o% enve+ope in +ane )ide enve+ope 2ypass enve+ope 5+ear or re'ove enve+ope ...

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"B E Au o'a ion %i # Enve+opes

"B."@ Enve+ope 3#apes
'nvelopes can be any of si+ shapes D Cinear, 3Juare, 3+o% 3 ar $End, Fas 3 ar , Fas End or 2e=ier. To change the shape of an e+isting curve, right click over the envelope point, then choose 3e Poin 3#ape, then the reEuired shape from the menu. The e+amples below illustrate the different shapes-

Minear

AEuare

Alow Atart.'nd

Fast Atart

Fast 'nd

;e9ier

Ahapes other than AEuare are usually best used for graduated parameters, such as volume and pan. AEuare envelopes are best used for items with on.off parameters ?such as bypass or muteB, to ensure an e+act transition at the reEuired point. Iou can specify your preferred default envelope point shape type from the Op ions; Preferences; Pro6ec ; *rac&$3end Defau+ s window, as shown on the right.

"B."A Enve+ope Preferences

&'(P'&7s envelopes preferences fall into several different categories within your Op ions; Preferences window. These are e+plained in more detail in Chapter %Q. eanwhile, it7s worth taking note of the following. The Appearance pages of your Op ions; Preferences window includes a number of useful options for determining how your envelopes are presented on screen. Turning these options on can improve clarity. )n particular, pay attention to the options to Ahow solid edge on time selection highlight ?(ppearance pageB. akes the boundaries of the time selection more obvious. Ahow guide lines when editing ?(ppearance pageB. Facilitates editing. Draw faint peaks in automation lanes ?Peaks.:aveforms pageB. Kelps to relate an envelope7s position in its own lane to the track7s volume level. Fill automation envelopes ?(ppearance pageB- this faintly colors the area below the envelope. The Edi ing 2e#avior; Enve+opes page is another important place to go to. )t gives you the option, for e+ample, to Au o'a ica++y add enve+opes %#en %ea&ing para'e ers in au o'a ion %ri e 'ode . This enables you to create envelopes on the fly without having to select the reEuired parameters from any menu. ;e careful when enabling this- you can end up with any number of envelopes that you didn7t want* Finally, a number of the options on the Pro6ec ; *rac&$3end Defau+ s have something to say about envelopes. These include :hether to have any envelopes ?such as Pan and OolumeB automatically displayed for all new tracks. Iour choice of default envelope shape for new points. Iour choice of default automation mode for new tracks. :hether new envelopes are to be automatically armed.

"B.!0 Enve+opes in *rac& *e'p+a es

:henever you save a track ?or selection of tracksB as a track template ?*rac&; 3ave rac&s as rac& e'p+a e commandB there is an option in the dialog bo+ to -nc+ude enve+opes in enp+a e.

"B.!" Using an Enve+opes *oo+bar

Chapter %1 e+plains in step by step detail how to create custom toolbars. )f you work a lot with envelopes then this is one area where you can achieve real productivity benefits. Ahown here is an e+ample of a simple 'nvelopes toolbar that you could create. Misted below are the actions attached to each of the icons in this e+ample.

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Up and Running: A REAPER User Guide v 4.30

(utomation- Aet track automation mode to trim.read (utomation- Aet track automation mode to write (utomation- Aet track automation mode to touch (utomation- Aet track automation mode to touch.read 'nvelope- )nsert 2 envelope points at time selection 'nvelope- Delete all points in time selection 'nvelope- Clear envelope 'nvelope- ,nselect all points 'nvelope- Toggle display of all visible envelopes in lanes for tracks 'nvelope- Ahow all envelopes for all tracks 'nvelope- Kide all envelopes for all tracks 'nvelope- Ahow all envelopes for tracks 'nvelope- Kide all envelops for tracks Hlobal automation over>ride- <o over>ride ?set automation modes per trackB Hlobal automation over>ride- (ll automation in trim.read mode Hlobal automation over>ride- (ll automation in read mode @eep in mind that this is only an e+ample. The same commands and actions that are most useful to one person might not also be most useful to another. )n the end, you must decide for yourself.

"B.!! Au o'a ion (i # Grouped *rac& Para'e ers

)f you have created track groupings in which you have defined relationships between various parameters, you can ensure that those relationships are maintained ?or not, as you wishB when automation envelopes are being written. This is done using the group Au o'a ion 0ode column on the Track Hrouping atri+. (s when the various track parameters themselves are grouped, the automation mode status for each track in the group can be set to master, slave, or both master and slave. Met7s look at some e+amples. )n each case, the grouping is similar to that used in the e+ercise file A++ *#roug# *#e 9ig# *GROUP3.RPP. )f you completed those e+amples it might help you to open that file now.

E1a'p+e
)n this e+ample, both of the guitar tracks are set to act as both master and slave in automation mode and both volume envelopes are armed ?indicated by the colored circular button to the left of the envelope name, OolumeB. Iou can set either track to write, touch or ?as in this e+ampleB latch mode and the other will change with it. (ny automation movements will then be written to both tracks. The effect of this is shown here.

Kad the automation envelope been armed on only one of the tracks then the automation would have been written to that track only and not to the other.

,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. 1%3

"B E Au o'a ion %i # Enve+opes

"B.!3 Au o'a ion %i # *rac& 3ends
(utomation can be applied to other controls beside Oolume and Pan, such as Aends and F8 parameters. )n this e+ample, we will create a Aend, then use an envelope to control it.

E1a'p+e
%. First, we are going to create an F8 ;us Track, then we will use an envelope to vary the level sent to that F8 ;us Track from each of the guitar tracks. Create a new track and name it F4 2us. Display the F8 Chain for this track, and add the F8 SA Huitar.chorus. Close the F8 window. Aelect the track G r 2ody and display the -O routing for this track. Create a send to the F8 ;us and set send volume and pan levels as shown ?aboveB. Aelect the track G r 9ec& and display the -O routing for this track. Create a send to the F8 ;us as a send and set send volume to D%"d; and pan to NPJ &ight. <ow display the 'nvelopes window for the G r 2ody track. Aet the mode to *ri'$Read. <otice that envelopes are available for your sends. ake sure that F4 2us 3end Vo+u'e is selected, visible and armed. Close this window. (n envelope lane for this send should now be visible on the G r 2ody track. Kover the mouse over any part of the envelope, click and drag down until the envelope is set to about D%!d;. :e are now going to increase the chorus effect, starting =ust before the second verse. (dd a point at about the N" second mark ?Ahift ClickB. (dd another point at about !-1".

!.

1. 2.

P.

N.

#.

3. Q.

%". Kover the mouse over the envelope =ust after this second point. Kold 5 r+ A+ while you drag up until the envelope is set to about D#d;. &elease the mouse. This is shown below.

%%. Aet automation mode for this track to Read. Play the song. )f you think the Chorus effect is too much, hover the mouse over the envelope, round about % minute 1" secs, then click and hold the left mouse button while you drag the envelope back down a little. %!. <ow repeat steps P. to %". for the track G r 9ec&. %1. DonFt forget to save the file.

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Up and Running: A REAPER User Guide v 4.30

"B.!4 Au o'a ion %i # F4 Para'e ers
Iou can create automation envelopes for any parameters for almost any SA, OAT, OATi, D8 or D8i plug>in that has been added to any trackFs F8 chain. For e+ample, you can use automation envelopes to vary the level of compression applied to a drum track, or to add more warmth to a vocal take at those times when it is needed. There are three main ways of creating envelopes for your F8 parameters Aelect those parameters for which you wish to add envelopes from the 'nvelopes window. Iou may need to click on the small K button ne+t to a plug>ins name to display a list of its automatable parameters. &ight click over background area of any e+isting envelope lane in the TCP and select the reEuired item from the F8 parameters window. (ll automatable parameters for all plug>ins in the trackFs F8 chain will automatically be added to the menu ?see rightB. The third method is to create the parameter envelope from within the plug>ins own window This is probably the most useful method because in many cases, this will be the environment in which you are likely to find yourself working when you decide that you would like to create the envelope. The standard procedure for doing this is Euite simple%. Touch the parameter for which you want to create an envelope with your mouse. !. Click on the Para' button. 1. Choose 3#o% rac& enve+ope from the menu. ost F8 can be automated in this way, but be warned that especially with some older plug>ins this might not be possible.

E1a'p+e
%. $pen the F4 5#ain window for the track Vo1. !. (dd the /3 CO3ER$42andEO to this chain. Aet the first FreEuency level to %3" ?as shownB. 1. Aolo the Vo1 track and play the song. 2. (s you do so, hold down the A+ key and gently increase the Mow volume level ?the top faderB. <otice how the sound changes and becomes warmer. &elease the mouse, and the level will snap back to ".". P. :e are going to add an automation envelope to increase this level for the phrase (ll Through The <ight at the end of the song, from about the !-%2 mark. This will warm up that phrase, but also make it louder. Therefore, we will also need to add use another envelope to lower the volume to compensate. N. (d=ust the hori9ontal and vertical 9ooms of the Oo+ track, so that you can clearly see the area that you are working with. #. Click on the Co% d2 fader in the 'C then click on the Para' button. Choose 3#o% rac& enve+ope from the menu ?see rightB. The envelope will be shown. ,nless you have changed the default preferences, this will be shown in its lane. 3. ark the time selection from about !-%2 to the end of the song. ,se the slider for this parameter ?in the TCPB to raise the level of this envelope by about N d;. ,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. 1!"

"B E Au o'a ion %i # Enve+opes

Q. :ith the time selection still active, use this same techniEue to lower the fader for the volume envelope by about ! d; ?see rightB. %". Play the file. Aave it. *ip: Iou can automatically create an envelope for any F8 parameter ad=usted during playback. To do so, enable the Preferences; Edi ing be#avior; Au o'a ion option Au o'a ica++y add enve+opes %#en %ea&ing para'e ers in au o'a ion %ri e 'odes, then set track automation mode to touch, latch or write.

"B.!? F4 Para'e er Au o'a ion in Cearn 0ode

)f you are using &'(P'& with a control surface, such as a ;ehringer ;C&!""", you can use it in :rite, Match or Touch mode to create automation envelopes for F8 parameters. Iou can use the deviceFs rotaries, faders or buttons ?as appropriateB for this purpose. 'ach device is different, but here is an e+ample%. :ithin the plug>in window, click on the parameter, then on Para' then on Cearn. !. Tweak the button, knob, or fader on the control device. ( confirmation message such as that shown here will appear in the Command filed ?rightB. 1. Aelect a CC mode- usually this will be absolute or relative. Consult the device7s documentation- if in doubt, try Abso+u e to begin with. For smoother operation, choose 3of a&eover. Toggle mode is also available- this allows F8 parameters to be toggled on.off with a single mapping. 2. $ptionally, select Enab+e on+y %#en effec configura ion is focussed . This allows you to assign the same control to another parameter in a different plug>in. P. :hen the 0-D- Cearn dialog bo+ is shown, tweak the control on the e+ternal device, select the option Ar' enve+ope for se+ec ed para'e er and click on OI. Depending on the parameter Iou can now use the control device to write your parameter changes to the envelope during pro=ect playback. )n Trim.&ead mode you can still use the control device to manually ad=ust the parameter > see Chapter %%.

"B.!B Au o'a ing a V3* %i # 0-D- 55 0essages

Depending on what gear you have, there are two other further methods you can possibly use to send )D) CC messages to automate a OAT7s parameters%. Aend )D) CC from a )D) source ?such as a )D) keyboard controller, a )D) track, &eaControl )D), or an F8 which outputs )D) CC messagesB directly to the OAT. )n some OATs )D) CC messages are hard> wired to specific controls ?e.g. MinPlug7s (lphaB, in others ?e.g. (mpliTube, AampleTank ! and @ontaktB the mapping is assignable. !. Aend )D) CC from a )D) source to 0-D- oRea5on ro+Pa # F3]0G. This in=ects the )D) CC messages into the &eaper automation path and onwards to a track OAT Parameter 'nvelope for which )D) Mearn has been used to map the CC message to that envelope. To learn more about ?and downloadB this plug>in, go to foru'.coc&os.co'$s#o% #read.p#pU [43>4".

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Up and Running: A REAPER User Guide v 4.30

"B.!> Au o'a ing F4 Para'e ers on #e F+y
)f you turn on the 'diting ;ehavior, (utomation preferences option to Au o'a ica++y add and ar' enve+opes %#en %ea&ing para'e ers in au o'a ion %ri e 'odes, then for any track set to write, latch or touch an automation envelope will be created for you as you tweak the parameter settings during playback. This feature can be used in con=unction with your control surface. <ote that any changes to these parameters that are made on the screen with your mouse will still be applied, as will any changes made using your control surface. ;e careful, though, or you could end up creating a whole heap of unwanted envelopes* 9o e: )t is important when you finish recording your automation envelopes in this way that you change (utomation mode to &ead or Trim.&ead, otherwise every parameter you tweak will create and.or modify an envelope, whether you want it to or not.

"B.!@ Au o'a ion %i # - e's and *a&es

)ndividual media items and takes can be given their own Oolume, Pan, Pitch and ute envelopes. To do this, select and right click over the item then choose the *a&e command followed by whichever envelope you want.

Enve+opes %i # 0edia - e's

)n the e+ample shown on the right, a pan envelope has been added to our media item, using the *a&e; *a&e pan enve+ope command. The item is panned first away from the center then back towards it. The envelope can be edited with points added, moved, and so on, =ust like any other. Iou can right>click over any point or segment of a take envelope to access the conte+t menus. Iou can also create different envelopes for different takes of the same item.

Enve+opes %i # 0u+ ip+e *a&es

)n the e+ample shown here, separate Pan envelopes have been added to the both takes for the last verse of a song, with different F8 . The combination of the different panning and the touch of &eaOerbate added to one of the takes can make for an interesting vocal effect when the P+ay a++ a&es option is enabled for this item.

"B.!A Au o'a ion %i # )ard%are Ou pu 3ends

)f you are using hardware output sends with any of your tracks, you will find that you can automate the Oolume, Pan and ute parameters for these sends. These items will appear in the trackFs envelopes window as shown on the right. )n the e+ample shown, we have already created a send from Track % to an (udio Kardware $utput. :e can now create an envelope to control the volume of this send. :e can even go one better than this. Auppose that we wish to use fader movements to shape this envelope, but without using :rite mode for any other envelopes that we may also have created. This can be done from within the TrackFs )$ ?&outingB :indow.

,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. 1!!

"B E Au o'a ion %i # Enve+opes

Take a look at the screen shot below. Iou can see that the (utomation mode has been set to Touch from within the &outing :indow, =ust for that one envelope.

Iou could now play your track, ad=usting the audio hardware output send fader in the window shown above to ad=ust the send volume level and create your envelope. Iou can also do this with Track Aend envelopes.

"B.30 Au o'a ing Au o'a ion

DonFt forget that &'(P'&Fs Ac ion Cis capabilities really do put a lot of power and control at your fingertips. For e+ample, if thereFs an automation task or seEuence of tasks that you use freEuently, you can allocate a keyboard shortcut to that seEuence. For e+ample, suppose that you often need for the current track to display and select, ready for automation, a volume envelope, and then select :rite automation mode for that track. Iou could use the Ac ions; 3#o% ac ion +is : command to open the (ctions window and create a custom action similar to that shown. Iou could then assign a keyboard shortcut to that custom action, or add it to one of your toolbars. &efer back to Chapter %1 for more information about custom actions, keyboard shortcuts, and custom toolbars.

"B.3" Au o'a ing #e 0e rono'e

Iou can automate the etronome behavior D for e+ample, to get it to play only at the e+act times that you reEuire. To do this, simply create a new track and use the command -nser ; 5+ic& 3ource to insert a media item into your file. Iou can then treat this click track like any other track D for e+ample, add a mute envelope to mute certain passages, and so on. To modify any of the click track properties, right click over the track and choose 3ource Proper ies from the menu. For e+ample, you can change the ;P setting, or use your own sample files to create the beats.

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Up and Running: A REAPER User Guide v 4.30

"B.3! Using #e *e'po$*i'e 3igna ure and P+ay 3peed Enve+opes
)n Chapter Q, you learnt how to change time signature and.or tempo within a pro=ect. (nother ?and perhaps more intuitiveB way of doing this is to use the Tempo.Time Aignature 'nvelope. To display this envelope in the main &'(P'& arrange window%. Choose the command Vie%; *e'po enve+ope from &'(P'&7s main menu. !. Aet the (utomation mode for the aster Track to Read. . The Tempo ap envelope range ?bpmB can be set in your Preferences, on the 'diting ;ehavior, 'nvelope Display page ?Chapter %QB. There you can also specify whether you wish to allow partial measures. :hen the Tempo ap is visible, an envelope appears on the aster Track in arrange view. This envelope can be modified much like any other D you can add points, move them, delete them, ad=ust them, etc. Kowever, the master tempo envelope cannot be modified by freehand drawing. oreover, editing multiple points at once on this envelope causes each point to be ad=usted pro rata, not by a constant ;P value. :ith each envelope point, a tempo.time signature marker is also inserted on the timeline > editing their values has the same effect as editing the envelope points, and if you move them, then envelope points move with them ?and vice versaB. &'(P'&7s (ctions Mist also includes an action Ad6us en ire enve+ope e'po... This opens a dialog bo+ which offers you the options of ad=usting the entire envelope by a percentage or by a set number of beats per minute. Aimilarly, you can also add to the aster a Playrate envelope, which can be used to automatically speed up or slow down the playback of your pro=ect. This envelope is applied to all tracks, audio and )D). To do this%. !. Click on the 'nvelopes button in the Track aster. This displays the 'nvelopes window for the <ow tick the item P+ayra e. ake sure this item is marked as both Oisible and (rmed. Close this window. aster.

"B.33 Coc&ing Enve+opes

:hen you are satisfied that your envelopes have been finalised, you can lock them in order to prevent any accidental changes or deletions from taking place. Pressing 3#if C ?or right>clicking on the Mock toolbar buttonB will cause the Coc& 3e ings window to be displayed ?see rightB. Iou should then select the Enve+opes option, along with any other aspects that you also reEuire to be locked. <ote that even with the Enve+opes option selected, locking will only be applied if you also select the Enab+e +oc&ing option. The keyboard shortcut C can be used to toggle lock enabled status on and off.

,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. 1!2

"> E Au o'a ion %i # Para'e er 0odu+a ion "> Au o'a ion %i # Para'e er 0odu+a ion
">." *#e 5oncep
The use of parameter modulation is probably best undertaken only by e+perienced mi+ers. This chapter serves as an introduction, but inevitably ?because of the comple+ity of the topicB it is not really pitched at the relatively novice user. Parameter modulation takes &'(P'&Fs routing, channel splitting, automation and sidechaining capabilities to new levels. Iou should probably not attempt this chapter unless you already have a sound grasp of these and other concepts. )f necessary, turn back to the chapter 0ore REAPER Rou ing E1a'p+es and work thru it again. Parameter modulation at its simplest means using the level of a track7s volume or one or more F8 parameter to control the behavior of one or more other F8 parameters on the same track or on a different track or on a number of tracks. DonFt worry if at this stage you find this difficult to comprehend. The concepts of what this is and how it works will become clearer after you have worked thru some e+amples. $ne relatively simple e+ample might relate to the application of a chorus plug>in to a guitar or bou9ouki track. Auppose that we wish to vary the wet.dry balance of the chorus throughout the track. :e could, of course, accomplish this with the use of automation envelopes. Kowever, this might involve Euite a lot of work. Met7s take this idea a step further. Auppose that we wish to define a relationship between the instrumentFs volume and the wet.dry mi+, so that as the volume increases the mi+ becomes drier, and vice versa. The chorus will seem to tail away more into the distance during at times when the instrument is played more forcefully and become gently more present during the Euieter passages. &ather than have to create a series of envelopes for our chorus plug> in, we can use parameter modulation to ensure that the chorus mi+ will respond automatically and in real time to changes in volume. )ncidentally, this particular e+ample can create an interesting effect of space and distance on the instrument, but as with most of the other e+amples throughout this ,ser Huide, that is not the main point of the e+ercise. The main point is to show you how parameter modulation is set up and used. )tFs then up to you to use and apply it in ways that you7ll find will bring new life and vigor to your own mi+es.

">.!

*#e -n erface

:e7ll shortly work thru some e+amples which will show both how parameter modulation works and how you can go about using it. First, we need to introduce a few basic terms and concepts. :hen you select a parameter to be modulated, you will initially see the window shown here ?rightB. )n this e+ample, parameter modulation is about to be applied to control a compressor7s threshold on a vocal track. This initial window features five basic controls. These are Enab+e para'e er 'odu+a ion; base+ine va+ue. This needs to be ticked for the parameter modulation ?P B to be applied. ,nticking this bo+ sets the P to bypass. *#e #ori=on a+ base+ine va+ue fader. This determines the starting value of the parameter being controlled. :e7ll come to an e+ample shortly. )nitially, leave this at its default setting ?fully leftB. Audio con ro+ signa+. Ticking this option will open a window which is used to define both which track ?or tracksB contains the audio signal that is to be used to control the parameter being modulated, and how you want the modulation to be applied. Don7t worry, we7ll get to an e+ample soon* CFO. This option allows you to use a low freEuency oscillator signal ?such as sine, sEuare, triangle, etc.B to generate a tone to control the parameter being modulated. This is more likely ?but not e+clusivelyB to be used when it is a synthesi9er parameter that is being modulated. Cin& fro' para'e er. This option allows you to link one F8 parameter to another. (n e+ample might be to ensure that as a track is compressed more heavily, some presence is added to the 'C ?to compensate for loss of dynamicsB. (nother might be that as the wet.dry balance on a delay effect is

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Up and Running: A REAPER User Guide v 4.30

ad=usted to add more delay, the pan position of the delayed signal is automatically moved further out. The possibilities really are endless.

">.3

Defining a Para'e er for 0odu+a ion

)llustrated below is an e+ample of the Parameter odulation window with =ust the Enab+e para'e er 'odu+a ion and Audio con ro+ signa+ options enabled. The table below that e+plains the main settings, what they do and how they are used. :e will then go on to work thru some e+amples to show you how parameter modulation can be used.

- e'
Enab+e para'e er 'odu+a ion; base+ine va+ue with Fader

Descrip ion
The checkbo+ enables.disables parameter modulation on this parameter. The fader sets a default value for the specified parameter that is to be modified. Kowever, if an automation envelope e+ists for the same parameter then that envelope will determine the baseline and this setting will be ignored. 'nables.disables control of the parameter by the audio signal in the specified *rac& audio c#anne+. This specifies which audio channel?sB D for e+ample, %.! or 1.2 D contain the audio signal that is used to control the specified parameter. The selection of channels available will depend on how many channels have been previously defined for the track. )n more straightforward applications, you will want to choose channels % V !. This will ensure that the parameter is controlled by the audio signal on its own track. Kowever, as you will see soon, you can choose a source other than channels % V ! if you want an F8 parameter on one track controlled by the audio signal from a different track. The latter case would be an e+ample of sidechain parameter modulation.

Audio con ro+ signa+ *rac& audio c#anne+

,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. 1!N

"> E Au o'a ion %i # Para'e er 0odu+a ion

- e'
A ac& and Re+ease

Descrip ion
These two factors determines the speed with which changes in the level of the incoming signal will be applied to the parameter. They work in a similar way to (ttack and &elease on a compressor. ( higher attack setting will cause the parameter to respond more slowly to changes in volume in the source audio channel. ( low release speed will cause the modulation to be ad=usted rapidly as the volume then falls. ( higher speed will hold the modulation for a longer period before doing so. Henerally speaking, the higher the attack and the release settings the more gradual will be the parameter modulation response. The lower these settings, the more sensitive and immediate will be the response.

0in Vo+u'e and 0a1 Vo+u'e

These determine the range within which the signal on the track audio channel will be used to modify the F8 parameter. For e+ample, in the illustration shown, the parameter in Euestion ?chorus wet mi+B on the track in Euestion ?track 2, ;ou9oukiB will only be controlled by the audio signal on channels % and ! when its volume falls within the range > !2 d; to > ".P1 d;. )f or when the signal is Euieter than >!2 d; or louder than > ".P1 d; the parameter modulation is in effect set to bypass.

3 reng # and Direc ion

These determine the nature and the intensity of the relationship between the incoming audio signal and the parameter being controlled. For e+ample, set to %""J positive as the incoming audio signal increases or decreases, then the parameter being controlled will also increase or decrease to the same degree. (t P"J, the relationship will still be positive, but more moderate. Iou can think of this as being conceptually similar to a ratio control on a compressor. Mikewise, a setting of %""J negative means that as the incoming audio signal increases, the parameter being controlled will decrease in the same proportion, and vice versa. (t P"J, the relationship will still be negative, but more moderate. (t "J, the effect will be completely neutral.

Audio 5on ro+ 3#aping 3igna+ Grap#

This graphical control helps shape the behavior of the parameter that is being modified. For e+ample, if the direction is set to positive, then pulling the small red handle ?in the centre of the diagonal lineB on the graph fully to the bottom right corner will result in more modest increases in the value of the parameter being modified. $n the other hand, pulling the small red handle ?in the centre of the diagonal lineB on the graph fully to the top left corner will result in greater increases in the value of the parameter being modified. Don7t worry, we7ll work thru an e+ample soon.

The best way for you to understand how parameter modulation works is to try it out in practise. This first e+ample will use several of the P window controls. :e will first select a parameter to be modulated, then set its baseline fader level, and then select the reEuired audio control signal. Finally, we will define the relationship between the audio control signal and the parameter being modulated.

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Up and Running: A REAPER User Guide v 4.30

">.4 Defining a Para'e er for 0odifica ion

To select an F8 parameter to be modified, follow either of these seEuences%. Displaying the trackFs Enve+opes$Au o'a ion window and click on the K for any plug>in to display the list of its controls. Click on the 0od button for any parameter that you wish to have modified by an audio signal. Iou will then see a small check bo+ ne+t to the 0od te+t for that item in the 'nvelopes window ?as shown rightB. Close the 'nvelopes.(utomation window. $pen the plug>inFs F8 window. :ith the mouse, click on the control for the parameter that you wish to modulate. Click on the Para' button in the plug>in window, then choose Para'e er 'odu+a ion from the menu that is then displayed ?as shown belowB.

!.

1.

$r%. !. 1.

<otice ?rightB that the name of the last touched parameter D the one to which parameter modulation will be applied D is shown dimmed at the top of the Para' button menu.

">.?

Para'e er 0odu+a ion %i # Audio 5on ro+

)n this first e+ample, we will insert a plug>in such as chorus into a trackFs F8 chain, then use that trackFs audio signal to control the way that plug>in behaves.

E1a'p+e
%. !. 1. 2. P. $pen the file A++ *#roug# *#e 9ig# and save it as A++ *#roug# *#e 9ig# 0OD". (d=ust track faders to get a reasonable mi+. This could be Oolume at >".P db, center, Huitar ;ody at " db, PPJ left, Huitar <eck at " d;, N1J right, and ;ou9ouki at >2 d;, %PJ left. Aolo the 2ou=ou&i track. :hile working thru this e+ample, this is the only track that will be needed. )nsert the /3: De+ay$de+ay7c#orus plug>in into this trackFs F8 chain, and set the various parameters as shown here. Click on the %e 'i1 Fd2G ro ary in this plug>in. <otice that currently this is set at %""J.

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"> E Au o'a ion %i # Para'e er 0odu+a ion

N. Click on the Para' button, then choose Para'e er 0odu+a ion from the menu. This will open a parameter modulation window for the wet mi+ rotary. 'nable the option Audio con ro+ signa+ and select as the *rac& audio c#anne+s % V !. Play the track. The wet rotary on the plug> in was initially at %""J, as shown here. Kowever, as you ad=ust the baseline fader ?in the P windowB while the track is playing, the wet value in the Chorus window ?shown to the immediate right of the ! in ! out buttonB is also ad=usted. Meave it with a wet mi+ level of about P"J. Aet the various items in the Para'e er 0odu+a ion window as shown below and play the track. Iou should notice the %e 'i1 element of the chorus being faded down for louder notes and passages and back up for Euieter notes and passages. <ow e+periment* Iou should find that oving the A ac& and Re+ease faders left will result in the wet mi+ chorus fader movements becoming more =erky. oving them right should make them smoother. oving the 3 reng # fader ?negativeB to the right will cause the wet mi+ chorus fader to be faded down for louder notes and down up Euieter ones. Aelecting positive reverses this. oving the 0in Vo+u'e fader left will lower the threshold at which the parameter modulation is applied. oving it right will raise the threshold.

#.

3.

Q.

%". :hen you have finished e+perimenting, ad=ust the settings to those shown here.

%%. This instrument becomes louder as the song progresses. Play it, with the ;ou9ouki unsoloed. ;y the end, there is less chorus being applied to the bou9ouki. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' 1!Q

Up and Running: A REAPER User Guide v 4.30

%!. <ow play the song again. Drag hold of the handle on the graph, and use your mouse to drag it to the lower right position. <otice that the movements of the wet mi+ fader now become more modest. %1. <ow drag hold of the handle on the graph, and use your mouse to drag it towards the top left corner of the graph ?as shown belowB. <otice that the movements of the wet mi+ rotary now become much sharper and the wet mi+ level stays well below P"J.

%2. &estore the graph to its earlier position ?shown at step %"B when you have finished. Aave the file.

">.B

Using an CFO 3#ape %i # Para'e er 0odu+a ion

<ow let7s have some fun and use a low freEuency oscillator to further modify the way parameter modulation is applied. (d=ust the shape of the curve as shown below. Try turning on the CFO option. Atart with some fairly conservative settings as shown below. Aelecting the *e'po 3ync option should help make for a fairly safe outcome* The 3peed setting controls the rate at which the signal is repeated. :ith this set to beats you should be able to stay in sync with the tempo.

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"> E Au o'a ion %i # Para'e er 0odu+a ion

Compare how the track now sounds with P enabled and disabled. )f you are familiar with working with low freEuency oscillators, you might wish to be a little more adventurous. $therwise, =ust save the file as A++ *#roug# *#e 9ig# 0OD" CFO.

">.>

Using Para'e er 0odu+a ion for Dyna'ic 5o'pression

)n this ne+t e+ample, you will use parameter modulation to dynamically ad=ust the settings to compress a vocal track in such a way that the threshold will automatically be ad=usted during the louder passages. This gives you a more precise control over the compressorFs operation than would otherwise be possible.

E1a'p+e
%. $pen the file A++ *#roug# *#e 9ig# 0OD" and save it as A++ *#roug# *#e 9ig# 0OD"A. !. Pan the Oocal track to the center and set its volume at about> ".P d; 1. )nsert an instance of Rea5o'p into the F8 Chain for the Vo1 track. 2. Aet the *#res#o+d to about D!2 and the Ra io somewhere around 2-%. Aet Inee si9e to around %Pd;. Aet the (e gain to about V%.Nd;. P. (s you play the song, ad=ust the settings to suit. $ne possible set of suitable parameter values is shown on the right. N. (s you play the track you might feel that the compression at times sounds about right but at other times is being applied too heavily. This is where we can use the trackFs own volume level to control its parameters. )n this e+ample, we will do this with the threshold only, but it could also be done with the ratio if you wished to. #. Click once on the *#res#o+d fader. 3. Click the Para' button for this plug>in. Q. From the menu, then choose Para'e er 0odu+a ion. %". Atudy the suggested settings shown below and ad=ust your settings accordingly as you play the song. &efer to the comments below. %%. <otice in particular how the attack and release setting levels, the shape of the curve and the volume settings all help prevent the threshold from being ad=usted too radically. %!. Aave and close the file when finished. 9o es ;y setting the in Oolume in the P window to the same level as the Threshold in the &eaComp window we ensure that the P is only applied when the vocal is at its loudest. The Atrength setting of 11J effectively means that for every 1 decibels by which the volume e+ceeds the min volume, the threshold will be lifted by about % d;. 9o e: :hen you are using Parameter odulation you should be prepared to tweak the various parameters carefully. Aometimes even the slightest change to a parameter value can significantly change the result. )f at first you do not seem to get any result, e+periment especially with ad=usting the baseline value setting.

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Up and Running: A REAPER User Guide v 4.30

">.@

2ypass 0ode

:henever you create a parameter modulation for a parameter, a small bo+ is added ne+t to its name in the 'nvelopes.(utomation window. This can be used to enable any of your parameter modulations, or set them to bypass mode ?in which case they are of course ignoredB. $therwise you can do this from inside the Parameter odulation window itself. )n the e+ample shown here, P settings e+ist for the Threshold ?currently enabledB. (lso, note that clicking on the word 0od for an item where parameter modulation already e+ists will cause that window to be opened ?even if it is currently disabledB so that you can view and.or edit the settings.

">.A

Para'e er 0odu+a ion Under Para'e er 5on ro+

;y linking parameters you can use dynamic changes in one F8 parameter to directly control another. )n this ne+t e+ample you will do =ust this, linking a track7s 'C gain with its compressor threshold, so that whenever the compression threshold is raised a little more warmth is automatically added to the track. %. $pen the file A++ *#roug# #e 9ig# 0OD"A and save it as A++ *#roug# #e 9ig# 0OD"2. !. )n the vocal F8 chain, add an instance of &ea'C ?after &eaCompB. Aelect ;and !. Aet the FreEuency to about %3" K9, the bandwidth to about !."" octave and the Hain to "." d;. 1. :ith the &ea'C window open, click on the ;and 1 Hain control, then the Para' button, then Para'e er 0odu+a ion to open the Parameter odulation window. Aelect the option Cin& fro' para'e er.

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"> E Au o'a ion %i # Para'e er 0odu+a ion

2. Click on the large button immediately below the Cin& fro' para'e er option and choose Rea5o'p then *#res#o+d ?as shown hereB. P. :hile the pro=ect plays, ad=ust the baseline value fader so that the Hain on ;and 1 in &ea'C is restored to " d;. N. Aet the Offse fader to PJ and the 3ca+e to V%""J ?see notes belowB. #. Play the song and save the file. )n our first two e+amples ?%#. P and %#. NB parameter modulation was used to create Euite a dramatic effect. )n the last two e+amples ?%#. # and %#. QB, the effect is far more subtle. The two controls Offse and 3ca+e can be used to control the e+tent to which the controlling parameter ?in this e+ample the compressor7s thresholdB modifies the controlled parameter ?in this case the 'C band gainB. The $ffset fader increase ?to the rightB or decreases ?to the leftB by a specified percentage the value of the parameter being modified The Acale fader covers a range from >%""J to V%""J. (t >%""J the relationship between the controlling parameter ?thresholdB and the controlled parameter ?'C band ! gainB will be %""J negative- the 'C gain will be lowered e+actly as the threshold is raised. (t V%""J the relationship will be %""J positive and the opposite will occur. Parameter modulation is a very powerful feature indeed. Iou will get the best out of it if you are prepared to e+periment and be creative. For e+ample, in the above e+ample you could add a parameter control for another 'C Hain ?perhaps ;and 1B, driven this time directly by the track7s audio signal. (nother e+ample would be to use, say, the threshold on one compressor to drive directly the threshold on another compressor, independently of audio control.

">."0 Using Para'e er 0odu+a ion %i # an Enve+ope

:hen you have an automation envelope enabled for a parameter being modulated, then the baseline value will be determined by that envelope rather than by the baseline value fader in the parameter modulation window. :hen this happens, the baseline value that is actually applied will itself vary ?according to the envelopeB throughout the song. This can produce some interesting results.

Kere we have added an envelope to control the 2and 3 EO Gain setting of &ea'C. ;y clicking the 0odu+a e button in the envelope lane we are able to open the Parameter odulation window and take the necessary steps to ensure that the 'C gain will respond automatically to changes in the strength of the audio signal on this track. )n this e+ample, when the envelope is lowered =ust after the current position of the play cursor, the baseline value of the parameter being modulated will also be lowered.

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Up and Running: A REAPER User Guide v 4.30

">."" Para'e er 0odu+a ion under 3idec#ain Audio 5on ro+
This ne+t e+ample introduces another application for Parameter odulation. )n this case, we will use the audio signal from one track ?a vocal trackB to shape the sound of an instrument submi+ ?that is, a folder track containing several instrumentsB. This will be done in such a way as to cause the instruments to appear to pull back slightly during the vocal passages.

E1a'p+e
%. $pen the file A++ *#roug# *#e 9ig# 0OD" and save it as A++ *#roug# *#e 9ig# 0OD!. &emove or set to bypass the delay plug> in in the ;ou9ouki track7s F8 chain. )nsert a new track after the vocal track. <ame this track -ns ru'en s and make it into a folder. )nsert the three instrument tracks into this folder, as shown on the right. (dd an instance of Rea5o'p to the ;ou9ouki track. This is needed only because the volume of this instrument increases Euite significantly as the song progresses. :e wish to pull this back a little. Aet a threshold of around D%Pd; and a ratio of around 2-%. Aelect the )nstruments folder and display its &outing ?)$B window. Aet the number of track channels to 2 and add a receive from channels %.! of the Oo+ track to channels 1.2 of the )nstruments folder. $pen the F8 :indow for the )nstruments folder and add an instance of /3: 33 i++%e++$e1ci er. This will be used to brighten up the instrument a little.

!. 1.

2.

P. N. #.

3. Aettings similar to those shown here will definitely brighten the instruments, perhaps more than you would like. For the sake of this e+ercise, however, these levels should be fine. Q. :e are now going to use parameter modulation to ensure that audio signal from the vocal track drives down the mi+ level of the e+citer. This will have the effect of helping the vocal to =ust float over the instruments a little. %". Click on the 0i1 \ control, then on the Para' button and choose Para'e er 'odu+a ion from the menu. %%. :hen the P window is opened, enable parameter modulation and use the baseline fader to set the baseline level for the i+ J back to about 1"J. %!. Aelect *rac& audio c#anne+s 3$4 and make the direction 9ega ive. %1. (d=ust the other parameters so that as the vocal floats above the instruments the smoothly and gently faded down. i+ J of the '+citer is

%2. $ne possible solution to this e+ercise is shown below. ;ut don7t =ust dive straight in and copy these settings. Try to get there by yourself* %P. Aave the file when you are finished.

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"> E Au o'a ion %i # Para'e er 0odu+a ion

">."! Fur #er App+ica ions

This chapter has introduced you to =ust a few basic e+amples to help you understand what &'(P'&Fs parameter modulation is and how it can be used. )n doing so we have barely scratched the surface. Kere are some other points to keep in mind :ith parameter modulation, the signal from any track can be used to control parameters on any other. For e+ample, the signal from an audio track can be used to control parameters on a synthesi9er, and a synthesi9erFs output can be used to control signals on an audio track. )f you are familiar with working with synthesi9ers and low freEuency oscillators, you may have developed an understanding of different types of waveforms such as sine, sEuare and triangle. Iou can use these MF$ shapes in your parameter modulation. The opportunities here can take you well beyond the introductory e+ample used earlier in this section. $ther applications for parameter modulation are limited only by your needs, your creativity and your imagination. For e+ample, with this techniEue you are able to use the audio signal from one track ?or group of tracksB to control specific parameters on a noise gate on another track ?or tracksB.

*ip: Iour parameter modulation windows and their settings will automatically be saved with any F8 chains and.or track templates that you create.

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Up and Running: A REAPER User Guide v 4.30

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"@ E E1por ing Fi+es; 0i1ing Do%n and Rendering "@ E1por ing Fi+es; 0i1ing Do%n and Rendering
"@." 2a c# Fi+e 5onversion
Iou might have a number of recorded tracks that you need to convert to another format, e.g. from .:(O format to . P1. These can all be handled in one pass, using &'(P'&7s batch file converter. To access the file converter, first choose the Fi+e; 2a c# fi+e$i e' conver er command from the main menu. This causes this dialog bo+ to be displayed. Then follow this seEuence )n (rrange view, select the items to be converted then click on Add, then Add se+ec ed 'edia i e's, or Click on the Add... button,then Add fi+es... ,se the browser to make your selection, and click on Open. To remove any file from the current selection, click on its name in the File Converter window, then click on the Re'ove button. To clear the entire selection, use the 5+ear button. Apecify output directory ?or select Use source fi+e direc oryB. Meave the Fi+e na'e field blank for the default name ?shown in the $utput columnB, or enter your own. Iou can include your own te+t and.or any of !2 available wild cards. The above e+ample uses the pro=ect name and track name. Meave the c#anne+s and sa'p+era e settings at source to use the same values for your output files as are used by your input files. $therwise, you may make what changes you like D e.g. from stereo to mono, or from 33.! kK9 to 22.% kK9. To convert the files, after making your selection click on the 5onver A++ button. This opens the Fi+e 5onversion window ?see aboveB. Aelect your reEuired output format ?e.g. P1, $HH, FM(CB and any parameters associated with that format. Depending on the format, you might have the options for dithering and.or noise shaping. $ptionally, you can select Use F4. )f you select this option, you should also click on the F4 c#ain... button to specify your reEuired effect?sB D for e+ample, perhaps a limiter. Apecify your reEuired output ?destinationB folder and click on 3 ar 5onver to implement the file conversions. Close the File Converter window when finished.

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Up and Running: A REAPER User Guide v 4.30

"@.! 5onso+ida ing and E1por ing

Iou might be collaborating on a pro=ect with someone else, or with other people. Perhaps, for e+ample, you want to send your pro=ect to a friend who will add some vocal harmonies to your song. :hat if that friend lives a long way away/ Iou could send her your .&PP file together with all the media item files. ;ut what if she doesnFt use &'(P'&/ Perhaps she uses a different software program, or perhaps she doesnFt have a D(: herself and will need to use a commercial studio for this purpose. )n this case, it should first be consolidated and e+ported. Take a look at this e+ample-

)n the e+ample shown here, the Oo+ track is made up of three separate items, each covering part of the total song. )f we were to hand a copy of the media files ?si+ in allB to someone else, then it would be Euite a =ob for that person to line everything up. ThatFs where consolidate and e+port comes in. )t creates new audio files, one per track, based on the items in the pro=ect, the files they refer to, and their position in the pro=ect. $nce these new files are inserted in another D(:, each starting at 9ero time, one per track, then everything will be in the right place for further mi+ing. %P. From the main menu, choose Fi+e; 5onso+ida e$E1por *rac&s. %N. Choose either the En ire Pro6ec or a 5us o' loop selection, then A++ or 3e+ec ed *rac&s. %#. Decide if you want to Force Ou pu For'a to a single standard ?as shown hereB or have this determined on a per track basis. %3. Aelect a Resa'p+e 0ode. %Q. Apecify reEuired format D :(O, ()FF, FM(C, P1, $HH Oorbis, onkeyFs (udio or :avPack. )n the e+ample shown, ()FF has been selected. !". Aelect your reEuired specifications for your chosen format. For e+ample, for ()FF files you need to select a bit depth, for P1 a mode and Euality. )f in doubt, speak to the person who will be doing the work. !%. Apecify your $utput directory ?where the files will be written toB. Apecify whether you wish to update your pro=ect with the newly consolidated files. !!. Apecify a name for the new pro=ect file ?or accept the defaultB. Click on Process. ;elow is shown how the pro=ect file looks after consolidation, with one media item per track. 9o e: ;e careful how you use the option to E'bed pro6ec e'po. )t adds an (C)D tempo tag to the audio file?sB. This may be interpreted by any tempo aware application so that the audio is stretched or processed when you do not wish this to happen. $nly enable this option if you are certain you want the tempo embedded.

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"@ E E1por ing Fi+es; 0i1ing Do%n and Rendering

)t would clearly be an easy task for an audio engineer to import these four media items into any D(: program, then overdub the vocal harmonies. 9o e: To consolidate in P1 format you will need to have the correct free Mame encoder file for your platform and &'(P'& version. For e+ample, for :indows 8P or Oista this is +a'e7enc.d++. For N2 bit :indows it will be either +ib'p3+a'e.d++ or +a'e7encB4.d++. The file should be placed in your 5:HProgra' Fi+esHREAPER folder. )t will take you only a few moments to use Hoogle to find a suitable download location.

"@.3

Rendering A Pro6ec

(s you7ll find out before you reach the end of this chapter, the Fi+e; Render... command has several diverse uses. $ne common one is for rendering a complete pro=ect down to a single stereo file. MetFs say that youFve reached the point where youFve finished your recording, completed your edits, added all your F8 and automation, arranged all your tracks G. and now you want to produce an end product for distribution. )f you7re aiming for an audio CD, you will need one %N bit stereo wave file for each song on the CD. )f you7re distributing thru the web, then most likely you will want a series of stereo P1 files. ;ut whatever format youFre using, each pro=ect will ultimately need to be rendered down to one file. To do this, we use the Fi+e; Render command. Iou can also use the shortcut 5 r+ A+ R. The dialog bo+ on the right shows your various options. Iou must specify a directory and file name- if you wish, use the 2ro%se button for either or both of these. Iour other choices will depend on the ultimate destination of your material. ( summary of Render o Fi+e dialog bo+ options follows below. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' 11Q

Up and Running: A REAPER User Guide v 4.30

Op ion Render Prese s Render 2ounds

E1p+ana ion Choose master mi+ to mi+ all material to a single file, stems to render selected tracks to separate files, or both. Iou can save your settings as a preset, or load a previously saved preset. Aelect custom time range ?enter in edit bo+esB, entire pro=ect, time selection ?make selection in arrange viewB or pro=ect regions ?previously selected in the &egion anagerB. 'nter these in the edit bo+es, or use the ;rowse button. ,se the (i+dcards button if you want to automatically include in rendered file names any information such as ?where appropriateB track name or number, region name, pro=ect file name, or date and time information. Aee also section %3.%. Aelect a value in the range 3""" to %Q!""", depending on output format and other factors. Aome e+amples follow in the table after this one. Choose mono, stereo or select a number for multichannel output. Full>speed ?defaultB for fastest rendering. $thers include % + offline and online. Oarious options allow trade off between speed and Euality. Default is %Q!. <ot available with all output formats, commonly used when rendering !2 bit ?or higherB audio material to %N bit :(O format for audio CD. Creates a smoother transition to the lower sample rate in the rendering process. Consult :ikipedia for a detailed e+planation of these techniEues. ultichannel tracks can be rendered to multichannel files. (n e+ample of this follows shortly. Choose from :(O, ()FF, monkeys audio, audio CD image, FM(C, Oorbis, video ?FFmpegB, video ?H)FB, or :avPack. P1, $HH

Direc ory Fi+e 9a'e

3a'p+e Ra e 5#anne+s 3peed Resa'p+e 'ode Di #er; 9oise 3#aping

0u+ ic#anne+ op ions Ou pu for'a For'a specific op ions

Aeveral other options will be specific to your selected format. For e+ample, for :(O or ()FF files, bit depth will need to be specified, for FM(C you must select FM(C encoding depth and data compression level. :hen rendering to :(O format, you may also specify whether markers, regions, both or neither should be embedded as cues in the output file?sB. )f enabled, this option causes your rendered file?sB to be added to the pro=ect as new tracks. Tells &'(P'& to make a time and date stamped copy of your pro=ect file, preserving all settings e+actly as they are at the time of rendering. These options are used in batch rendering, which will be discussed shortly. Causes the pro=ect to be rendered to one or more files, depending on and according to your selected options.

Add i e's o ne% rac&s in pro6ec 3ave copy of pro6ec o ou +ine.%av.RPP Open render Jueue Add o render Jueue Render 1 fi+es

Pro6ec Rendering E1a'p+es

E1a'p+e DVD Audio 3ound rac& 5D Audio App+e 0ac 3pecifica ion Aample &ate- 23""" KR, Channels- Atereo, Kigher Cuality $utput format- :(O format, !2 bit Aample &ate 22%"" KR, Channels- Atereo, Kigher Cuality $utput format- :(O format, %N bit ()FF Format. Consult the engineer who will be working with the file for advice on preferred settings.

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"@ E E1por ing Fi+es; 0i1ing Do%n and Rendering

E1a'p+e (eb 3i e $ (eb Audio 3pecifica ion Aample &ate 22%"" KR, Channels- Atereo, Kigher Cuality $utput format- P1 format $ther options may vary as you trade off files si9e and download time against audio Euality, but a typical selection might beC;& ?Constant ;it &ateB QN or %!3, Soint Atereo, Cuality Kigh ,se this format for lossless compression at %N or !2 bit, sample rate as preferred. Apecifications as for CD (udio. This option can be used to burn your rendered output directly to CD, or to create an image file on your hard drive for use with other CD burning software. Iou can specify how markers or regions should be used to define tracks. This includes the option only to use markers whose name begins with 6Y6, in which case these become track markers. Further information about how to do this can be found later in this chapter. :e look at channel splitting and creating multichannel tracks in detail elsewhere in this ,ser Huide, and especially in Chapter %P. Iou might have such tracks that you wish to e+port in multichannel format, perhaps for use with another program. First select the tracks in the track control panel, then open the Render o fi+e dialog bo+ and include the following optionsChannels > Aelect the number of channels, e.g. 2 Aelect Render s e's Fse+ec ed rac&sG o si'i+ar+y na'ed fi+es. Aelect Render 'u+ ic#anne+ rac&s o 'u+ ic#anne+ fi+es. $ptionally, Add i e's o ne% rac&s in pro6ec %#en finis#ed.

0on&eyNs Audio Audio 5D -'age F5ue$2inG for'a

0u+ ic#anne+ *rac&s

Ahown here is a four channel track ?Track %B rendered in multichannel format ?Track !B. *ip: The (ction Mist includes actions Fi+e: Render pro6ec using #e 'os recen render se ings and Fi+e: Add pro6ec o render Jueue using 'os recen render se ings. )f assigned to shortcut keys or a toolbar, they can be used to render pro=ects without having to reopen the File, &ender dialog bo+ each time.

"@.4

Rendering a Finis#ed 3ong

(s mentioned earlier, when rendering a finished song you will be likely to make different output format choices depending upon whether your final destination is, for e+ample, audio CD or the web. Kowever, there are a few tips that you may wish to keep in mind which are eEually applicable to both. Oery often your recording will have a few seconds of silence before the song starts. ,sually you will not wish to include this period of silence with your rendered material. ;efore you render your pro=ect, you should follow these steps%. Position the play cursor at the point where you wish the rendering to commence. Press 3#if 0 to create a marker at this point. <ame this marker 3 ar .

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Up and Running: A REAPER User Guide v 4.30

!. Position the play cursor at the point where you wish the rendering to stop. Press 3#if 0 to create a marker at this point. <ame this marker End. 1. :ith loop points linked to time selection, double click on the marker line ?above the timelineB anywhere between the two markers. This selects the entire area between them. 2. P. From the &'(P'& menu, choose the Fi+e; Render command. Aelect the reEuired output format and other options as reEuired, but be sure to include the option *i'e se+ec ion from the &ender ;ounds drop down list.. The settings shown at the start of section %3.1 would be suitable for producing a file for CD audio. Ahown here are those that would be suitable for producing a . P1 file. <otice that for P1 some options ?e.g. dither and noise shapeB are not available. :hen you are ready, click the Render " fi+e ... button in this dialog bo+ to create your rendered file.

N.

"@.?

2a c# Rendering

Iou might have a whole collection of songs ?perhaps to go together on a CDB, and that you may wish to render all of the songs together when the pro=ect is finished. That way, you can go away while &'(P'& renders your entire collection of songs, and then come back later. The procedure for doing this is as follows.

For Eac# Pro6ec

o be Rendered:

%. $pen the pro=ect and choose the Fi+e; Render command. !. Choose your various settings and options, as e+plained in the previous sections. Iou will probably want to select the same folder ?directoryB for all of the pro=ects that will be included in the batch to be rendered. 1. Do not click the &ender% File button. )nstead, click the Add o Render Oueue button. 2. The dialog bo+ will be closed, and nothing appears to happen. P. Aave and close the file.

*o Render #e Oueued 2a c# of Pro6ec s:

:hen you render the files in the Eueue, each will be rendered to a separate file according to the settings and options that you made for each file individually when you set up the batch. %. From the main &'(P'& menu, choose the Fi+e; 3#o% Render Oueue command. ,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. 12!

"@ E E1por ing Fi+es; 0i1ing Do%n and Rendering

!. This causes the dialog bo+ shown on the right to be opened. (ll files in the render Eueue ?in this e+ample fourB will be listed. 1. )f you need to remove any item from the list, select it and click on Re'ove 3e+ec ed. 2. 'ither use 5 r+ 5+ic& to build up a subset of items to be rendered and click on Render 3e+ec ed or simply click on Render A++ to render all items in the Eueue, each of course to a separate file. The Rendering o Fi+e bo+ will be shown as each file is rendered and removed from the Eueue. P. 5+ose the Cueued &enders dialog bo+ when finished.

"@.B

2urning an Audio 5D %i # REAPER

There are at least two situations in which you might wish to burn your material direct to an audio CD. %. Iou have recorded a number of songs. 'ach has been mi+ed and rendered to its own stereo wave file. Iou now wish to burn all of these to audio CD, with one track for each song. !. Iou have perhaps a live recording comprising one continuous track. Iou wish to split it up into individual tracks, and then burn to audio CDs. )n both cases the procedure is similar, with some slight differences in how you set the pro=ect up.

Preparing o burn a 5D fro' severa+ 'i1ed fi+es

%. !. 1. Atart &'(P'& and create a new pro=ect file. Press 5 r+ A+ 4 to display the 0edia E1p+orer; then navigate to the folder containing the rendered stereo wave files. Double click in turn on each of the files that you wish to include in your CD program. &'(P'& will add each one to your pro=ect, lined up on separate tracks. <otice that each media item is placed so as to begin immediately after the other, with no gap. )t is not necessary to move any of these in order to create gaps on your CD. Iou will later be able to tell &'(P'& to do this automatically for you. Iou will now need to insert a marker to indicate where each track is to start. To do this G First, make sure that Anapping is disabled. Place the cursor at the beginning of your pro=ect. Press 3#if 0 to create and edit a marker at this point. ake sure the marker name begins with a Z ?as shown on the rightB. <ow move the cursor to the start of the ne+t song. (gain add a marker, and again make sure that the marker name begins with a Z. &epeat this until you have created a marker at the start of each song, as shown here-

2. P.

N. #.

3. Q.

Aave the Pro=ect File. <ow follow the instructions below for 2urning #e 5D.

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Up and Running: A REAPER User Guide v 4.30

Preparing o burn a 5D fro' one con inuous recording %. !. 1. )f the recording was made in &'(P'&, open the pro=ect file. $therwise, create a new pro=ect file and use edia '+plorer to import the recording, using the method e+plained before. )t is not necessary to split up the media item. &'(P'& will take care of this when it burns the CD. Kowever, you will need to indicate where you want each track on the CD to start. First, make sure that Anapping is disabled. Place the cursor at the very beginning of your pro=ect. Press 3#if 0 to create and edit a marker at this point. ake sure the marker name begins with a Z ?as shown on the rightB. <ow move the cursor to the start of the ne+t song. (gain add a marker, and again make sure that the marker name begins with a Z. &epeat this until you have created a marker at the start of each song, as shown below-

2. P.

N. Aave the Pro=ect File. #. <ow follow the instructions below for 2urning #e 5D.

2urning #e 5D
%. Choose the Fi+e; Render command. Iou should now select the necessary options and settings for burning your CD. 3a'p+e ra e- 22%"" 5#anne+s: Atereo Render en ire pro6ec Render 0as er 0i1 Ou pu for'a - (udio CD )mage ?C,'.;)< FormatB 0ar&ers define ne% rac&s 2urn 5D -'age af er render On+y use 'ar&ers s ar ing %i # Z. )f you do not have any dithering plug>ins in your aster F8 Chain, consider also enabling the Di #er and.or 9oise 3#ape options. )n the case of the first of our two e+amples ?with separate media items lined up on different tracksB you will probably also want to specify a Cead in si+ence for rac&s of !""" ms. Click the Render button and wait for the output file to be rendered. This might take a few minutes. ,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. 122

!.

1.

2.

"@ E E1por ing Fi+es; 0i1ing Do%n and Rendering

P. N. :hen rendering has been completed, the 2urn Audio 5D -'age settings screen will be displayed. Aelect your preferred method. This will depend on factors such as your PC set up and operating system. )f in doubt, choose cdrecord$cd oo+s as shown. #. Aelect E6ec 5D %#en done. Decide also whether or not you wish to keep or delete the CD image files when done. )t7s probably worth keeping it, at least for now. )f you have any problems with burning the CD itself here, you might well be able to use the image file with another CD burning program such as <ero or Toast. 3. )nsert a blank CD into your CD drive and wait for it to load. Q. Click 2urn 5D. %". :ait while the 2urning in progress message is displayed. %%. :hen finished, the CD will be e=ected. Click on 5+ose to close any messages still displayed on the screen. 9o e: )nstead of using markers to define the start of your tracks, you can if you wish create a separate region for each CD track and use the Regions define rac&s Fo #er areas ignoredG option. $nly that part of the material that is included in your regions will be burnt to CD. ( further option is to burn the contents of the pro=ect as One rac&. *ip: ;efore rendering direct to audio CD you should ensure that the media items that you are burning are in %N bit 22%"" K9 .:(O format. There are a number of methods that you can use to convert them to this format. Probably the easiest is to set this under Pro6ec 3e ings as your 0edia for'a for app+y F4; g+ue; open; copy; e c. :ithin the pro=ect you can then glue any e+isting media item?sB, while any media items you then import will be automatically converted to this format.

"@.>

3aving Cive Ou pu

o Dis&

Iou have an option to e+port your live output to disk, using the Fi+e; 3ave +ive ou pu o dis& FbounceG command. This is similar to Fi+e; Render, e+cept that whereas the &ender command works off line, '+port Mive to Disk works in real time. This means, for e+ample, that you can actually make ad=ustments on the fly to your settings while your pro=ect is being mi+ed down. Position the play cursor at the start of the section you wish to save ?e.g. the beginningB and choose the Fi+e; 3ave +ive ou pu o dis& command. Apecify output directory, file name, output format, etc. $ptions include3ave ou pu on+y %#en p+aying or recording- this enables you to stop and start playback.recording whenever you wish, then later start again to resume bouncing to disk. 3 op saving ou pu on firs s op- this ensures that bouncing will finish the first time you stop playback or recording. )t is unlikely that you would wish to enable both these options at the same time.

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Up and Running: A REAPER User Guide v 4.30

:hen you have made your settings, click on the 3 ar button to begin bouncing. Choosing 3ave +ive e1por o dis& FbounceG from the Fi+e menu will now cause the bounce to end. This command has several uses, such as recording continuously a log of your sessions to a compact file format such as P1, so that later you can hear everything that was said about each take even though the transport was stopped and nothing was being recorded on the tracks. Kowever, if you do set it to run non> stop, remember to stop the recording when you no longer need it, to avoid creating an unnecessarily large file.

"@.@

Rendering in 3urround For'a

:hen you are rendering a pro=ect for surround format, most of the settings will be made as for any other pro=ect ?such as a stereo mi+B. The one important difference is that you should be sure to select the correct number of channels. )n the e+ample shown here, the pro=ect is for P.% surround, therefore N channels have been selected. &'(P'& will render this pro=ect into a single multichannel file. Iou may later need to convert the interleaved multichannel file into multi>mono files of the type reEuired by Dolby and DTA encoders. &'(P'& itself does not do this, but there are a number of good tools available which will do this for you.

These include (ave Agen E http-..www.sounddevices.com.products.waveagent.htm.

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"A E REAPER8s Preferences and O #er 3e ings "A REAPER8s Preferences and O #er 3e ings
"A." -n roduc ion
(t several places in this ,ser Huide we have encountered the use of preferences and settings. )n this chapter, you will learn other ways in which you can use &'(P'&Fs preferences and other settings to tailor the program more closely to your particular reEuirements. Don7t worry about the sheer number of options available. )n many cases, youFll probably be perfectly happy to leave the program settings as they are and =ust let it run. <ot all of the options and preferences are covered in this chapter. )f you need any further information about any of &'(P'&7s other preferences and settings, go to the &'(P'& :)@) or the &'(P'& forums.

"A.!

Genera+ Preferences

ost of the settings on the Genera+ page fall into one of the following categories, Canguage- Aelect from list any available language, or option to prompt when &'(P'& is loaded. -'por and E1por . These buttons can be used to consolidate, save and e+port your various settings and configurations to a &eaperConfigRip file, or to import them from such a previously saved file. Aee ne+t page for more details. Undo 3e ings. These are e+plained in Chapter ! and re>e+amined near the end of this chapter. 3 ar up 3e ings. Enable or disable options including Coad +as pro6ec on s ar up, 3#o% sp+as# screen on s ar up and Au o'a ica++y c#ec& for ne% versions of REAPER . There is also an option to 5rea e ne% pro6ec ab %#en opening 'edia ?directlyB from :indows '+plorer or $A 8 Finder. Recen Pro6ec Cis . This setting determines the ma+imum number of files that will be displayed on your File, &ecent pro=ects menu. (arn %#en 'e'ory usage #ig#- Auggested settings are %3"" for 1! bit, 13"" for N2 bit &'(P'&. Advanced U- 3ys e' *%ea&s. These allow for a number of options, including the scaling of ,) elements such as your icons and panels. :e7ll deal with these later in this chapter.

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Up and Running: A REAPER User Guide v 4.30

"A.!." -'por and E1por 5onfigura ion

E1por configura ion can be used to e+port to a .&eaperConfig.Rip file any permutation of your settings. -'por configura ion can be used to import a previously saved settings file back into &'(P'&. This can also be done by dragging and dropping a .&eaperConfig.9ip file from '+plorer or Finder into &'(P'&7s arrange window. Iou will be prompted to confirm that you really want to do this.

(ny permutation of the following elements can be selected for inclusion in a &eaperConfig.9ip fileConfiguration Color themes Plug>in presets F8 Chains SA F8 Pro=ect and track templates iscellaneous data Cursors and key maps enus and toolbars (ctions and key bindings enu sets Channel mappings &eaAcripts Manguage Packs

)n the first column, tick the categories to be included. The second column will then show you which files have been selected for inclusion in your &eaperConfig.9ip file. The files associated with any category will be highlighted in the right column when that category is selected. )n the e+ample above, Configuration is the selected category. (fter making all your selections in the first column, use the 3ave button to create the file. )mport and e+port configuration e+ists side by side with the individual import.e+port options that are available within many of &'(P'&7s different elements. For e+ample, to e+port only your actions and key bindings you would be most likely to use the -'por $e1por ... button within the (ctions window. )f, on the other hand, you wish to e+port your actions and key bindings along with various other settings, such as perhaps menu sets, F8 chains and &eaAcripts ?perhaps to be imported into &'(P'& on another computerB, then you would be more likely to use the screen shown above. *ip: )t can be a good idea to create a .&eaperConfig.9ip file that includes a++ the above elements and keep a copy as a backup on a CD, eternal hard drive or flash drive ?or all three*B in case of system failure.

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"A E REAPER8s Preferences and O #er 3e ings

"A.!.! Pa #s and Ieyboards

:ithin the Genera+ preferences category you will find two more pages D Pa #s and Ieyboard. 3e ings Page Pa #s 0ain Op ions Kere you can set ?individuallyB default paths for &'(P'& to use when rendering, recording, and.or for storage of waveform peaks. The last of these will only be applied if under Preferences, pea& cac#es in a+ erna e pa # is enabled. Ieyboard The &eyboard section includes the following5o''i c#anges o so'e edi fie+ds af er " second of yping. 'nabled, this allows, for e+ample, a play rate to be typed in to the relevant Transport ;ar field without your needing to press En er Use a+ erna e &eyboard sec ion %#en recording. Iou must enable this if you wish to use your ain ?(lt recordingB keyboard shortcuts when recording. Preven AC* &ey fro' focussing 'ain 'enu. 'nabling this will stop the main menu getting focus when the (lt key is pressed. Iou can click on either of the two links in this window to open the action list editor ?(ssign keyboard shortcuts G.B or to open your web browser with a list of keyboard shortcuts ?Oiew keyboard shortcuts as G. B. The other section allows you to customi9e the behavior of your 0u+ iE ouc# trackpad or similar, if you have such a device. &efer to the Preferences, Heneral, @eyboard window and your device7s documentation for a list of options. edia the option to 3 ore a++

This page consists of two main sections D Ieyboard and 0u+ iE ouc#.

"A.3

0ain Pro6ec Preferences

&'(P'&7s main Pro6ec settings page is in some respects less interesting than either of its two sub>pages ?see belowB. <evertheless, it has some useful items, including The option to specify a defau+ .RPP file to use as a e'p+a e when starting new pro=ects. :hether to prompt you to save whenever a new pro=ect is created. This can be a useful reminder to you if you wish to use a separate sub>directory for the pro=ect and its media files. :hether to open and disp+ay #e pro6ec se ings %indo% when a new pro=ect is created. This can serve as a handy reminder, for e+ample, if you need to set a pro=ect time signature or timebase that is different from your default. :hether to prompt you with a warning if a pro=ect that you are attempting to load cannot be found. This can happen, for e+ample, when an older pro=ect has been deleted but remains on the &ecent Pro=ects list. :hether to show the file load status and &'(P'&7s splash screen when a pro=ect is loading. :hether to save pro=ect file references with re+a ive pa #na'es. This can be useful, for e+ample, if a pro=ect is likely to be moved from one disk to another. :hen using Fi+e; 3ave As to over write an e+isting file, whether to create 'u+ ip+e versions. :hether to au o'a ica++y crea e a bac&up file ?.&PP>;(@B from the previously saved version of a pro=ect file when it is resaved, and if so whether to timestamp it. 'nabling these options can be a wise precaution to help you recover data if, for e+ample, a pro=ect file becomes corrupted. :hether to au oEsave your pro=ects and, if so, at what intervals. The default ?if this is enabledB is %P minutes. This can help prevent work from being lost due to power outages or computer crashes. :hether to include your Undo #is ory when the pro=ect is being auto>saved. This option will only be applied if saving undo history is enabled in your Heneral preferences.

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Up and Running: A REAPER User Guide v 4.30

"A.3." Pro6ec *rac&$3end Defau+ s

(s the page name implies, you7ll find two groups of default settings here D one each for *rac&s and 3ends. 3e ings Group *rac&s 0ain Op ions *rac& vo+u'e fader defau+ gain- sets the initial volume fader level for new tracks. Default is "." d;. Defau+ visib+e enve+opes - allows you to specify any track parameter envelopes ?e.g. Oolume, PanB that you would like automatically displayed for new tracks. Defau+ enve+ope poin s#ape- sets the shape for new envelopes ?e.g. MinearB. Defau+ au o'a ion 'ode- sets automation mode ?e.g. Trim.&eadB for new tracks. Defau+ rac& #eig# in ne% pro6ec s - choose from small, medium and large. 3#o% in 'i1er- whether or not new tracks by default are shown in i+er. 0ain Fparen G send- whether send to aster ?top level tracksB or parent folder ?child tracksB is by default enabled for new tracks. Free i e' posi ioning- whether F)P is by default enabled for new tracks. RecordEar'- whether new tracks are automatically armed for recording. Record config- click on button to set default recording settings for new tracks, e.g. whether monitoring is on, whether to record audio input or )D), default input source. 3end defau+ gain- default volume fader level for new track sends. )ard%are ou pu defau+ gain- default volume fader level for new hardware sends. 3ends$#ard%are ou pu defau+ 'ode- default send type ?e.g. Post fader.Post panB. 3ends : by defau+ - whether sends by default include audio or )D) or both.

3ends$*rac& )ard%are Ou pu s

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"A E REAPER8s Preferences and O #er 3e ings

"A.3.! 0edia - e' Defau+ s

&'(P'&7s 0edia - e' Defau+ s include :hether to use automatic fade>ins.fade>outs on new items, and if so how long they should be. :hether to overlap and split crossfade items, and if so by how much. Default fade and cross fade shapes. :hether right>clicking on one side of crossfade set should change only that side ?use 3#if to toggleB. :hether to allow automatic fades and crossfades for :hether to loop source imported items and.or new )D) note velocity. )D) items and.or recorded items.

:hether time selection auto>punch audio recording should create a loopable section.

"A.4

Audio 5onfigura ion and 3e ings

:eFve already mentioned ?Chapter %B the Audio Device screen ?in the Preferences windowB, but itFs worth discussing this topic a little more. Two important issues in the digital audio world concern buffers and +a ency. ,nderstanding what these terms mean will help you in obtaining the optimum settings for your system. Hetting buffer si9e right is essential if you are to get the best performance from your audio interface. them too small and you7ll get audio clicks and popsZ make them too large you7ll notice delays in your headphones when youFre input monitoring, especially with software synthesi9ers. ake

The goal is to achieve the lowest possible latency without e+periencing dropouts. The optimum setting depends on a number of things, not least of which are the audio interface ?PC) sound card, firewire or ,A; deviceB that you are using, your PCFs characteristics, as well as which software youFre running. The use of plug>ins can also increase latency, some more than others. Consider what happens when you are working at your D(:. (s you play back your tracks, a constant stream of data passes from your hard disk and.or &( to your sound card. (mongst other things, this converts the digital data to an analog form, so that it can be sent to, and heard thru, your speakers or headphones. :hen you record the reverse happens D the incoming analog audio stream has to be converted to a digital format so that it can be stored on your hard disk. :hen you are overdubbing, both of these activities are going on at the same time. )ndeed, with input monitoring, the track or tracks being recorded are actually being fed into the computer in analog form, converted to digital, processed, then converted back to analog again as they are fed back to your headphones. Matency is a measure of this delay. )ncidentally, you can make this activity easier if your audio device itself supports input monitoring. )n this case, the incoming audio stream that is being recorded is fed straight back into your headphones before it even gets into the computer.

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Up and Running: A REAPER User Guide v 4.30

(s if this wasnFt complicated enough, remember that :indows is performing all sorts of other tasks at the same time as you are recording. )f you donFt believe this, =ust bring up Task anager some time, check the Processes page and have a look. ThatFs what we mean by 'u+ i as&ing. Ao how is :indows able to keep up with its other QQ or so tasks at the same time as handling your recording/ )t does so by dividing its resources between all the tasks at hand. )n order to maintain a constant audio stream, small amounts of memory are allocated to storing this audio stream. These areas are called buffers. Thus, as you play back your audio, :indows hands over to your sound card a block of audio that the sound card releases at a steady rate to your e+ternal amplifier. )f it empties these buffers before :indows gets round to handing it some more, then youFve got a problem. The same principle applies, but in the reverse direction, when youFre recording. (nd again, when youFre layering or overdubbing, or using &'(P'&Fs input monitoring, both activities are going on at the same time. )f the buffers are too small, youFll get gaps in the audio stream. These can lead to pops, crackles and in some cases even dropouts ?thatFs when playback and.or recording =ust stops suddenly and une+pectedlyB. aking buffers larger is usually enough to fi+ this problem, but it brings with it another. ake them too large, and the data at the end of the buffer has a long wait before it is processed. ThatFs when you e+perience unacceptably large latency, such as the delay between pressing a keyboard and hearing the note in your headphones. (A)$ drivers generally offer better latency than do others. (s a rule, the preferred order is (A)$, :D , Direct8 and ', in that order. This is where the A3-O 5onfigura ion button on the Audio Device screen is so important ?assuming, of course that you are using (A)$ driversB. *#e s'a++er #e buffer si=e; #e grea er #e +oad on your co'pu erNs 5PU. Ao after making changes to your buffer si9e, check the CP, usage on &'(P'&Fs Performance eter. Iou can use this fact to your advantage when mi+ing. (s a rule, low levels of latency are only really needed for recording, not when you are only playing audio back. Therefore, if you find that you are pushing your CP, close to its limits, you will often be able to fi+ this by accessing your audio cardFs control software and increasing the buffer si9e. Finally. Sust a word about 3a'p+e Ra e. This also affects CP, usage. Hoing from 22%"" to 33!"" doubles CP, usage. This is an area about which there is much debate, but in reality few of us have ears that can really detect whether a track has been recorded at 22%"" or at 33!"". Test this out for yourself and see what you think. (nother important aspect of your (udio preferences is your 0-D- Devices settings page. This has been covered in Chapter %.

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"A E REAPER8s Preferences and O #er 3e ings

"A.? Audio Preferences

This page presents you with a range of audio preferences and options. any, if not most, users will find they can leave at least the first half do9en or so of these at their default settings and forget them. :hether to 5+ose audio device %#en s opped and app+ica ion inac ive . 'nabled, this allows you to have other audio programs ?such as Aound ForgeB open at the same time as &'(P'&,and for you to be able to switch easily between them. 5+ose audio device %#en inac ive and rac&s are record ar'ed . Meave this unselected if you want &'(P'& not to share your audio device with other programs when you have record armed tracks. 5+ose audio device %#en s opped and ac ive. )f enabled, &'(P'& will automatically close audio devices when audio is not being played back. 'nabling (arn %#en unab+e o open audio$0-D- devices could potentially help you to troubleshoot if you encounter hardware interface issues. 'nabling the option Do no process 'u ed rac&s could lessen the load placed on your CP,. 3o+os defau+ s o inEp+ace so+o. 'nabled, this means that when you solo a track you will hear along with that track the audio output of any other tracks which take receives from that track. Disabling this ensures that you will hear only the soloed track. )n either event, holding A+ while clicking solo will reverse your default option. 3o+o in fron allows you to hear Euietly in the background your other tracks when one or more tracks are soloed. This may help you to place more in conte+t the track that is being auditioned. The feature itself is enabled.disabled from the Op ions menu- in your preferences you can set your preferred d; level for the background material. Iou can Au o'a ica++y 'u e any rac& or only the 0as er rac& when a specified d; limit is reached. This option can help protect your ears, your speakers and your sound card* 5#anne+ na'ing$'apping. This feature enables you to give your own meaningful names to your audio input and output devices. )t is e+plained in detail in Chapter %.

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Up and Running: A REAPER User Guide v 4.30

"A.?." Audio 2uffering

:hile we7re looking at optimising audio, the Audio 2uffering page of the Preferences window contain a number of customi9ation options.

The option to Disab+e 'edia buffering for rac&s #a are se+ec ed can be useful if you are using a third party plug>in that does not respond well to buffering. $therwise, if you are not technically minded you would be best advised to leave most of these settings at their default values. )f your computer has two or more processors, you might find the following options useful. An icipa ive F4 processing has benefits for both multiprocessor and single processor systems. $n single processors it makes &'(P'& more tolerant of lower interface latencies ?and more resistant to plug>ins that do larger block>based processing, such as &eaOerb and &eaFirB. $n multiprocessor.multicore systems it also allows for very significant multiprocessor usage. 'nabling this feature may allow improved latency. <otice also that clicking on the Advanced Dis& -O Op ions button brings up the selection of options shown on the right. )f unsure about what you are doing, it7s better to leave these settings at their defaults. (ny changes that you do make should not come into effect until after you have closed and reopened your pro=ect file.

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"A E REAPER8s Preferences and O #er 3e ings

"A.?.! Audio P+aybac&

(mong the useful options on this page are :hether or not to s op$ repea p+aybac& a pro6ec end. :hether to s op p+aybac& a #e end of a +oop if repeat is disabled. :hether to scro++ #e vie% o #e edi cursor posi ion %#en p+aybac& is s opped. :hether to au oEscro++ when viewing other parts of a pro=ect. :hether to run F4 af er p+aybac& is s opped- this can be good for evaluating the 6after effect6 of delay based plug>ins such as reverb and chorus. :hether to enab+e scrubbing and 6ogging, and if so what options to apply in its implementation ?such as limiting =og speedB. <ote that there is also a command on the Op ions menu to enable.disable 5on inuous scro++ing.

"A.?.3

Audio 3ee&ing

$ptions include :hether to see& p+aybac& ?repositioning the play cursorB when clicking on any of the top ruler, empty areas of tracks, and.or empty areas below tracks. Disabling any of these will enable you to click or click and drag in arrange view ?for e+ample, on the ruler to define a loop, or in the empty area between tracks to define a time selectionB without affecting e+isting playback. :hether to see& p+aybac& %#en +oop poin s are c#anged and.or On+y %#en repea is enab+ed. :hether to see& p+aybac& %#en an i e' is 'oved$si=ed or #as i s fade ad6us ed . :hether playback position should fo++o% #e pro6ec i'ebase %#en c#anging e'po . :hether to use s'oo # see&- this enables you to allow playback to continue to the end of a specified number of measures, or to the ne+t marker or end of region, before seeking.

"A.?.4

Audio Recording

Audio Recording preferences are detailed and e+plained in Chapter 1. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' 1PP

Up and Running: A REAPER User Guide v 4.30

"A.?.? Audio Coop Recording

This page of settings determines how &'(P'& behaves when loop recording. Discard inco'p+e e firs or +as a&es if a +eas one fu++ +oop %as recorded. This prevents annoying and unwanted partial takes being saved, as might be caused if you are a tad slow in stopping recording. 0-D- recording %i #in e'p y i'e se+ec ion a+%ays crea es se+ec ionE+eng # 'edia i e'. 'nable this to ensure )D) media item matches time selection length. Add recorded 'edia o pro6ec on s op. 'nsures that media will not be added to the pro=ect until recording is stopped. $ptionally, you can crea e ne% fi+es for each recorded pass thru the loop. Add recorded 'edia o pro6ec a eac# +oop. 'nsures that recorded media is added on the fly after each pass thru the loop.

"A.?.B

Audio Rendering

These are found on the page after Audio Coop Recording preferences. They are rather technical- if you are unsure of what to do, leave them at their system defaults ;lock si9e to use when rendering samples. )f in doubt, leave blank. :hether to allow anticipative F8 processing. This may lead to better multiprocessing performance ?default is onB. :hether to limit apply F8.&ender stems to realtime ?default is offB. :hether to process all tracks ?including if appropriate muted and.or unsoloed tracksB when rendering. akes rendering slower, but some plug>ins might need this. :hen free9ing, whether to render entire track length if there are track or per take F8.

"A.B

Appearance Preferences

The Appearance screen itself lets you specify various parameters that help determine the appearance of your &'(P'& interface, especially the Track Control Panel and i+er. Kere is a summary of some of the options0isce++aneous Appearance 3e ings include :hether to use oo+ ips for U- e+e'en s such as buttons and faders, media items and envelopes, etc.if so you can specify the length of any delay that should be allowed before the tooltip is displayed. The %id # Fin pi1e+sG of #e p+ay cursor. Default is % pi+el, but you can make this wider.

:hether to s#o% #e +as undo even on #e 'enu bar ?=ust after the Kelp commandB. )f you enable this option, clicking on the action shown will open the ,ndo Kistory window.
:hether to s#o% guide+ines %#en edi ing. This can be an aid to editing.:hether to app+y so+id edges to time selection highlights. and.or loop highlights. :hether to +i'i #e sca+ing of oo+bar bu ons. 'nabling both these options will prevent the buttons from becoming smaller or larger if you resi9e the main or floating toolbar. :hether to enclose f+oa ing oo+bar %indo%s in fra'es. Docker ab disp+ay options, including whether to show tab close buttons. 9u'ber of pi1e+s o +eave be %een ad6acen rac&s D i.e., between the bottom of one media item and the top of the one underneath it. ( higher setting may make defining time selections easier. ,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. 1PN

"A E REAPER8s Preferences and O #er 3e ings

0a1i'u' nu'ber of +anes o be used %#en s#o%ing over+apping i e's . ( lower setting here ?! to 2B can help prevent screen clutter.

*rac& 5on ro+ Pane+ and Enve+ope 3e ings include :hether to use cus o' rac& co+ors as a background color on track labels ?in TCP and mi+erB and whether to in rac& pane+s ?in TCP and mi+erB with custom track colors. :hether to use rac& grouping indica ors, and if so which ones. :hether to use fi++ed au o'a ion enve+opesenabled, this colors the area below the envelope and may make its shape easier for the eye to discern. Ahowing this over media items can be disabled. :hether to s#o% fain 'edia pea&s be#ind enve+opes in envelope lanes. :hether to s#o% #ori=on a+ grid +ines in automation lanes.

"A.B."

Appearance 0edia

For the most part these fall into two main groups D 0edia i e' +abe+s and 0edia i e' bu ons. 0edia i e' +abe+s- :hether to disp+ay i e' a&e na'es and.or 'edia i e' pi c#$p+ay ra e and.or gain ?if setB. )f showing any of these, whether to dra% +abe+s above #e i e' ra #er #an %i #in #e i e', whether to use a so+id bac&ground for easier reading and %#e #er o s#o% +abe+s %#en i e' edges are no visib+e. This last option will ensure that the labels remain visible as the pro=ect scrolls past the beginning of items. Iou can also determine how rate.pitch data is shown D e.g. normal, abbreviated, or numbers. 0edia i e' bu ons: ostly these are paired ?e.g. Mocked.,nlocked, uted.,nmuted, F8.<o F8B. Choose which of these buttons you want displayed over or above your media items. Ad6us 'edia i e' vo+u'e by For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' 1P#

Up and Running: A REAPER User Guide v 4.30

dragging. Iou can choose either to use either a small rotary knob for this, or to use the top edge of the media items as a handle.

"A.B.!

Appearance; Pea&s$(avefor's

This page contains a number of options which between them help determine the appearance of your peaks and waveforms and, indeed, whether they are shown at all. Iou can specify whether you wish to Disp+ay pea&s for 'edia i e's and.or Disp+ay pea&s %#i+e recording. Iou can also choose not to show peaks for unselected tracks and.or muted.unsoloed tracks D On+y disp+ay pea&s for rac&s #a are se+ec ed and On+y disp+ay pea&s for rac&s #a are so+oed or no 'u ed will give you this. An ia+ising is a technical issue. Hoogle if you wish to learn more, but, in short, enabling antialiasing may give you a more accurate representation- disabling it may cause your peaks to be drawn.redrawn more Euickly. The only difference that Fancy edges make is cosmetic. 'nable these options, for e+ample, if you like your peaks bordered when using custom colors, disable them if you don7t. The option to 3ca+e pea&s by preEf1 vo+u'e$pan enve+opes should be enabled if you want the peaks on your media items to be ad=usted according to any pre F8 envelope volume changes. <otice too that you can choose when closely 9oomed in to your material to view the waveforms as Dots and lines, Filled samples, $utlined samples, Atepped samples or Amooth. 'nabling Dra% fain pea&s in fo+der rac&s allows the output of a folder7s child tracks to be displayed as waveforms in the folder7s lane in arrange view. 3a'p+e +eve+ %avefor' vie% determines how waveforms are displayed when 9oomed in so close as to be able to identify individual samples D e.g., dots and lines, filled, outlined, stepped or smooth samples. 5us o' 5o+ors. Iou have the options to *in 'edia i e' %avefor' pea&s or *in i e' bac&ground to any of *rac& 5o+or, - e' 5o+or or *a&e 5o+or. )f more than one option is enabled, then the lowest level has precedence. That is, take color wins over item color which wins over track color.
,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. 1P3

"A E REAPER8s Preferences and O #er 3e ings

Iou can also specify your reEuired in s reng # to be used for media item backgrounds, within a range of " to 2, where ! is the system default.

(lso in this section is the option Au o'a ica++y co+or any recording pass #a adds a&es o e1is ing 'edia i e's. This can help to give a clearer picture when you are working with multiple takes. "A.B.3 Appearance Fades$5rossfades

These options give you more precise control over media item fades and crossfades. Iou can specify a minimum item %id # and.or #eig# reEuired before a fade can be edited. Iou can enab+e or disab+e 'ouse edi ing of fade curves and.or fade starts and ends.

Iou can decide under which circumstances you do and do not want fade handles and crossfade edi ing #and+es to be displayed. Iou can indicate whether or not you want crossfade edi or #e'e co+ors to be used. "A.B.4 Appearance; VU 0e ers$Faders

The first four items on this page set 0e er upda e freJuency, 0e er decay ra e, 0e er 'ini'u' va+ue and 0e er 'a1 va+ue. ,nless you have good reason to change them, leave them at their system defaults. There are nine other options which together define how your track meters will appear. $f special interest areRese 'e er pea& indica ors on p+ay see&. Disable this to keep the e+isting peak level displayed ?until e+ceededB when you re>commence playback. 3 ic&y c+ip indica ors ?enabledB ensure that peaks on the O, meter are marked with a bar for a few moments after they have passed. 3#o% d2 sca+es on rac& 'e ers if enabled will cause the d; scale to be marked, in numerals, on your O, meters. The final two options are fader option which can be used to restrict the ad=ustable range of your volume and.or pan faders. "A.B.? Appearance; *#e'e Edi or

The ne+t settings page, Appearance; *#e'e Edi or, is covered in Chapters 2, %" and %%.

For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' 1PQ

Up and Running: A REAPER User Guide v 4.30

"A.> Edi ing 2e#avior Preferences

The Edi ing 2e#avior page of the Op ions; Preferences window ?shown aboveB includes a number of areas in which you can specify default settings in a range of matters that will affect how you work when editing your &'(P'& pro=ects. Kere is a summary of some of the most useful options Iou can specify your edi cursor be#avior, in particular to specify which of the following actions should cause the edit cursor to be movedChanging time selection, Pasting or inserting media, Atopping recording Iou can allow s#if c+ic&$con ro+ c+ic& to override your move edit cursor assignments. Iou can by default link ?or unlinkB time selection and loop points. Iou can enable or disable loop points to be cleared by clicking on the ruler, and.or time selection to be cleared by clicking in arrange view. Think how you want to use these options. For e+ample, if you want to click on the ruler as a means of repositioning the edit cursor then you probably won7t want loop points automatically cleared. Iou can specify your Poo' preferences. Ver ica+ =oo' options are Track at center of view, Top visible track, Mast selected track or Track under mouse cursor. )ori=on a+ =oo' options are 'dit or play cursor, 'dit cursor only, Centre of view or ouse cursor. )f in both cases you choose the mouse cursor option you will ensure that as you 9oom whatever is under the mouse cursor will stay on screen. Iou can set the ab o ransien sensi ivi y and specify whether to *ab #ru 0-D- no es and.or *rea 'edia i e' edges as ransien s. Dua+ ri' op ions ?for editing shared media item edgesB. :hether to au o'a ica++y de+e e e'p y rac&s created when dragging items below last track. :hether slip>editing the start of an active take will also ad=ust all other takes. :hether to split.trim.delete all items at edit cursor if splitting.trimming.deleting with no items selected. Disabling this will prevent, for e+ample, all items being split if you press 3 with no item selected.

,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. 1N"

"A E REAPER8s Preferences and O #er 3e ings

"A.>." Edi ing 2e#avior; Enve+ope Disp+ay

Iou can specify various diverse envelope editing options, including Aelecting the decibel range within which vo+u'e envelopes can be ad=usted. Apecifying a semitone range for per take pitch envelopes, also whether or not to snap. Apecifying a display range ?beats per minuteB for the master pro6ec e'po 'ap enve+ope. :hether or not to 3#o% ne% enve+opes in separa e enve+ope +anes by default. :hen drawn over media, overlap envelopes if each is less than + pi+els high. 'nabling this option may create a more cluttered visual effect, but it will allow more height for editing envelope points. :hether to se #e focus o ne% envelopes as they are added. This automatically selects them for editing, etc. :hether enve+ope poin s are also selected with a i'e se+ec ion. :hether the first click on an an unselected envelope will insert a point- check also your mouse modifier settings. :hether to add a ransi ion poin on stopping playback after recording automation. :hether or not to Au o'a ica++y s#o% affec ed enve+opes %#en 'oving da a across rac&s . Ahowing these can sometimes be visually confusing. :hether 5#anging #e enve+ope s#o%n in any +ane should cause the envelope previously there to be hidden or moved to the media lane. :hether edge poin s ?at start and end of time selectionB are added to envelopes when points are moved, or when ripple editing, or when inserting time. Iou can also sepcify a reEuired transition time for automatically created envelope points.

For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' 1N%

Up and Running: A REAPER User Guide v 4.30

"A.>.! Edi ing 2e#avior; Au o'a ion

:hether to Au o'a ica++y add enve+opes when you ad=ust any parameters with write mode enabled. This makes creating envelopes fast and snappy, but means that with write mode enabled you will not be able to ad=ust any parameters without creating envelopes for them. :hether to disp+ay read au o'a ion feedbac& fro' #idden enve+opes. For e+ample, if you have a volume envelope that is hidden, enabling this option will allow the volume fader to automatically move with changes in volume, even though the envelope is hidden, providing read mode is enabled. )n (ri e mode, whether to app+y para'e er c#anges o #idden enve+opes . $nly enable this if you are sure about what you are doing- otherwise you risk making accidental changes to envelopes. :hether to add ransi ion poin s %#en recording au o'a ion %#i+e p+aybac& is s opped . :hether to reduce enve+ope poin da a when recording or drawing automation. <ot enabling this can lead to more points being created than you might like. (#en pan$vo+u'e enve+opes are added , %#e #er ri' is rese when the envelope is drawn. $ptions are (lways, )n read.write mode only, or <ever. Aetting this to <ever may make the manual editing of such envelopes easier ?by leaving you plenty of room both above and below the envelopeB. Af er recording au o'a ion in %ri e 'ode %#e #er o au o'a ica++y s%i c# o one of #e o #er 'odes. The trim.read option is handy if you are inclined to forget to do this manually*

,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. 1N!

"A E REAPER8s Preferences and O #er 3e ings

"A.>.3 Edi ing 2e#avior; 0ouse Preferences

The 0ouse page of the Op ions; Preferences; Edi ing 2e#avior window ? aboveB is used to determine specify how you would like your mouse to behave in &'(P'&. Kere is a summary of some useful options 0ouse%#ee+ arge s- whether your mousewheel acts on the window currently underneath the mouse or on the last window to have focus. This, for e+ample, allows you to use the mousewheel to ad=ust the parameters of an open F8 window without first having to click on the window to give it focus. Focus can remain with your mi+er, or arrange view, or wherever you were before. For e+ample, Esc would then clear the current time selection rather than close the F8 window. :hether to use or -gnore #e 'ouse%#ee+ on a++ faders. 'nabling this and.or the ne+t two options can help prevent those of us who tend to be heavy handed from accidentally changing faders levels. :hether to use or -gnore #e 'ouse%#ee+ on rac& pane+ faders. :hether to use or -gnore #e 'ouse%#ee+ over ranspor edi fie+ds . )f disabled, you can edit te+t fields such as ;P and play rate =ust by scrolling your mousewheel over the field. :hether to treat scrolling a +ap op rac&pad as being like using a mousewheel. :hether 0ouse c+ic& on rac& fader or bu on causes that track to become the currently selected track. Disabling this allows you to ad=ust track faders, etc. without changing the track selection. :hether to reEuire a sing+e click or a doub+e click when edi ing rac& na'es. :hether 0ouse c+ic&$edi in rac& vie% c#anges #e rac& se+ec ion . 'nabling this will ensure that track selection will follow media item selection. :hether to A++o% 'odifying edges of i'e se+ec ion over i e's in rac&s . 'nabling this means that you can click and drag over a track ?as well as between tracksB to ad=ust the start or end of a time selection without affecting item selection.

)n addition, for O3 4 users on a ac, there is an option 5 r+ +ef c+ic& e'u+a es rig# c+ic&. Kowever, it is a better practice to use your Aystem Preferences to enable right>clicking. The topic of 0ouse 0odifier preferences is covered e+tensively in Chapter %1 and elsewhere.

For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' 1N1

Up and Running: A REAPER User Guide v 4.30

"A.>.4 Edi ing Preferences; 0-D- Edi or

F+as# 0-D- edi or &eys on rac& inpu - if enabled, causes a brief color flash to be displayed on the )D) editor keyboard when the track receives )D) note>on input. :hether to optimi9e )D) editor behavior for R29 FRoc& 2and 9e %or&G song au #oring. )ori=on a+ grid +ines in 55 +anes - toggles this option on and off. R29 friend+y 0-D- edi or se ings - allows &'(P'&7s )D) editor to behave in a way compatible with &;< ?&ock;andB )D) authoring. For e+ample, lyric events will be attached only to playable notes. Defau+ be#avior for open i e's in bui+ Ein 0-D- edi or . The si+ options ?self>e+planatoryB are-\ Open se+ec ed i e's in a ne% 0-D- edi or F separate from any )D) editor window that may already be openB. This is the default behavior. Open se+ec ed i e's in +as focussed 0-D- edi or; c+ear #e edi or firs . &eplaces content of currently open )D) editor window with the selected item?sB. Open se+ec ed i e's in +as focussed 0-D- edi or; preserve e1is ing edi or con en . (dds the selected item?sB to the e+isting )D) editor window. Open a++ rac& 0-D- in a ne% 0-D- Edi or ?separate from any )D) editor window that may already be openB. $pens in the one window all items on the same track as the selected item. Open a++ rac& 0-D- in +as focussed 0-D- Edi or c+ear #e con en firs . &eplaces content of e+isting )D) editor window with all )D) items on same track as the selected item. Open a++ rac& 0-D- in +as focussed 0-D- Edi or preserve e1is ing edi or con en . (dds to the content of e+isting )D) editor window all )D) items on same track as the selected item. 3%i c# ac ive 0-D- source by doub+e c+ic&ing an inac ive no e in #e 0-D- edi or - when multiple sources are displayed in the same window, use this to make an inactive source active. On+y s%i c# ac ive 0-D- source o i e's on sa'e rac& - self>e+planatory toggle. :hether Doub+eEc+ic&ing ou side bounds of any 'edia i e' e1 ends #e neares 'edia i e' .. :hether to 3#o% se+ec ed s a us for no es$55 in inac ive 'edia i e's. Aet Opaci y for no es$55 in inac ive 'edia i e's. Defau+ no e co+or 'ap- allows you to specify your own default note color map. ,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. 1N2

"A E REAPER8s Preferences and O #er 3e ings

"A.@ 0edia Preferences
edia settings.

The 0edia page of the Op ions; Preferences window lets you customi9e your

Kere is a summary of some of the options that you might find most useful. - e' 0edia 3e ings Purpose (#en inser ing 'u+ ip+e 'edia i e's - Iou can choose whether the default behavior should be to insert as separate tracks, to insert seEuentially in a single track, for &'(P'& to determine which appears the more appropriate, or whether you wish to be prompted each time. 5opy inser ed 'edia i e's o pro6ec 'edia direc ory - :hen enabled, this ensures that a copy of any media items inserted into a pro=ect will be made and stored in the pro=ect directory. This helps you to keep together all those files that belong together. :hether to use the media file name to Au o'a ica++y na'e unna'ed rac&s on 'edia i'por . (avefor' 'edia pea& cac#e se ings Genera e pea& cac#es- Iou can determine the circumstances in which you want peak caches to be generated. Desired cac#e reso+u ion- Determines the degree of precision used for media peaks. 0edia i e' edi ing se ings 0edia i e' vo+u'e ad6us 'en range- Aets this to >inf to " d; or >inf toVN d;. Dup+ica e a&e F4 %#en sp+i ing - Determines whether any e+isting F8 in an item7s F8 chain are automatically copied to new items that are created when the original item is split.

For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' 1NP

Up and Running: A REAPER User Guide v 4.30

"A.@." 0edia; 0-D- Preferences

0-D- oc ave na'e disp+ay offse by default, middle C ? )D) note N"B is labelled C2. (n offset of, say, >% would cause this to become C1, and so on. The 3end a++Eno esEoff option is intended to stop hanging notes when record arm is disabled. A++o% ri' of 0-D- i e's %#en sp+i ing will add a note>off message for any note that spans the split point when a )D) item is split. Poo+ 0-D- source da a is discussed and e+plained in Chapter %!. Iou can disable this if you prefer. )tems created or imported as &'(P'& 0-D- i e's ?rather than . )D filesB can be better edited in the )D) 'ditor. .0-D fi+es are more portable between apps. Iou can, of course, create them as e+port to file if you wish. Ticks per Euarter note sets data resolution for new microsecond at %!" bpm.

)D) items and later

)D) items. The default setting of QN" eEuates to ! ticks per

Iou can specify when -'por ing 'u+ ic#anne+ 0-D- fi+es whether to do so as a series of single channel tracks, as one multichannel track, or always to prompt. 3nap be#avior can be set so that time signature changes in imported that tempo changes in imported )D) files are set to whole beats. )D) files are set to whole bars, and

0-D- e1 even s are by default e+ported in (AC)) format- you have the option of changing this to ,TF>3.

"A.@.!

0edia; Video$RE4$0isc Preferences

The various Video options relate mostly to performance and playback Euality. The best permutations of settings will depend largely on which platform you are using ?e.g. :indows #B as well as your choice of video systems and format. )f you need help you should post to one of the &'(P'& forums. The RE4 options include how you wish to -'por RE4 fi+e con en s. This can be as beat slices that will ad=ust to tempo changes, or as single loopable media items, or to prompt. Iou can also specify whether RE4 s+ice ai+s should be preserved, all chopped, all chopped e+cept the final slice, or the final slice only be chopped. Finally, you have an option for determining how i'por ed 'edia %i # e'bedded e'po is to be handled. Iou can always ad=ust the media to pro=ect tempo, import it at its own tempo, or always prompt.

,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. 1NN

"A E REAPER8s Preferences and O #er 3e ings

"A.A P+ugEins Preferences

Iour two Au o'a ica++y resi=e F4 %indo%s options, if enabled, will ensure as you browse thru a track7s F8 chain that the F8 window is automatically resi9ed to suit the currently selected F8. Iou can specify if f+oa ed F4 %indo%s should automatically be placed on top, if ne%+y crea ed F4 %indo%s should be floated, and if windows should be automatically opened for F8 added from the TCP and CP Euick>add conte+t menus. Iou can specify whether or not to au oEdoc& ne%+y crea ed F4 %indo%s and whether you want the Add F4 window opened automatically when you open an empty F8 chain for a track or media item. )f you enable the option to On+y a++o% one F4 c#ain %indo% open a a i'e you may also specify whether you want the open window shown to change when you change track selection ? Open F4 %indo% on rac& se+ec ion c#angeB and whether this is to happen on+y if an F4 %indo% is open. Iou can also opt to have rac& F4 added o #e i e' F4 bu on rig# c+ic& 'enu. This enables you to open these F8 directly from this button. Iou can also specify how many F8 are to be shown on the conte+t menu Recen +y added +is and whether curren rac& F4 should be shown on the F8 button conte+t menu.

"A.A."

P+ugEins; 5o'pa ibi+i y

The main options here concerns OAT bridging and firewalling. These are features designed to help protect &'(P'& from crashing as a result of an unstable plug>in being used. The default option is for au o'a ic bridging to be applied when the program deems it necessary, but you can change this to )n separate plug>in process, )n dedicated process per plug>in, or Disable bridging. To follow discussions on what these options mean in practice in different situations you should consult the &'(P'& forums.

"A.A.!

P+ugEins; V3*

Iou have already seen ?in Chapter %B how to tell &'(P'& the location of your OAT plugins, and how to ensure that these are enabled. )n addition, the V3* 5o'pa ibi+i y section offers a number of further options for controlling the behavior of your OAT plug>ins. Iour preferences in this category may likely to depend on which plug>ins you are using. )ndividual plug>ins vary so much that it would be virtually impossible to give very much meaningful general advice here. Iou may need to e+periment to get the best results. ;e prepared to ask Euestions on the &'(P'& forum or indeed on the plug>in supplier7s forums.

"A.A.3

P+ugEins; Re(ire$D4

&e:ire options include whether to show any already opened &e:ire aware apps or devices as available F8 in the F8 window and whether to automatically open the native control panel for any &e:ire application selected. There is an option to 5#ec& %#en s ar ing REAPER for any device a+ready open that is capable of acting as a &e:ire master, and if so to open &'(P'& in slave mode. There is also a dialog bo+ where you can specify your Re(ire s+ave pro6ec se ings. Direc E4 FD4G plug>ins are by default Enab+ed. Iou can 3can for ne% D4 p+ugEins manually or specify 3can for D4 p+ugEins on startup.

"A.A.4 "A.A.?

P+ugEins; Rea3crip P+ugEins; Rea0o e

This topic is discussed briefly in Chapter !!. This topic is discussed briefly in Chapter !!. For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' 1N#

Up and Running: A REAPER User Guide v 4.30

"A."0 5us o' U- *%ea&s
The Genera+ page of the Op ions; Preferences window includes an Advanced U-$3ys e' %ea&s button which enables you to further customi9e &'(P'&Fs on>screen appearance. Clicking on this button displays a number of options including5us o' 3p+as# 3creen D ( .; P or .P<H file. Use +arge %indo% fra'es for windows. 3ca+e U- E+e'en s ?such as buttons on toolbarsB. This can be useful if you are working with a very high screen resolution. A++o% rac& enve+ope$rou ing %indo%s o s ay open. Aelect this option if you want track routing and envelope windows not to be closed automatically when they use focus. Advanced sys e' and 'u+ iprocessing %ea&s. These options help determine the way &'(P'& behaves on a system with two or more processors. They are considered e+perimental, should be used with caution, and may reEuire a restart of &'(P'&.

"A."" Pro6ec and Fi+e 0anage'en

Iou have already seen that when you save a &'(P'& pro=ect file you have the option to create a subdirectory for that pro=ect, and to copy, move and store all of the pro=ectFs media files into that directory. aking use of this option will make it easier for you to keep track of your work. Kowever, you will most likely find that as a pro=ect evolves, it will accumulate any number of media items, such as re=ected tracks and overdubs, or deleted items that are no longer reEuired. Iou can easily remove these unwanted items, using the command Fi+e; 5+ean 5urren Pro6ec Direc ory. The location of the current pro=ect folder is displayed =ust below the Pro=ect Directory Cleanup title bar. )f you wish, you can click on the '+plore button to e+plore the folderFs entire contents. <otice, however, that all the files present in the pro=ect directory but not belonging to the current pro=ect are listed in the Pro=ect Directory Cleanup window. To select any one file, =ust click on its name. To build a selection, hold the 5 r+ key while you click on each reEuired file name. To select all files in the list, click first on the first file name then, holding the 3#if key, click on the last name in the list. Iou then have the option to either delete these files permanently from your hard drive, or to send them to the :indows &ecycle ;in ?as shown hereB. (fter making your selection, click on the Re'ove 3e+ec ed Fi+es button to remove them. DonFt forget also to bac&up your work regularly, to a flash drive, e+ternal hard disk, CD or DOD, or more than one of these. The easiest way to back pro=ects up is to simply use the :indows file management system. ,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. 1N3

"A E REAPER8s Preferences and O #er 3e ings

"A."! 5us o'i=ing #e Perfor'ance 0e er
Iou can customi9e the information shown on the performance meter, making your selections from its conte+t menu ?see rightB. (mongst the items that can be displayed or hidden areCP, Hraph CP, ,se Disk ,se &( ,se Free Aystem &( F8 CP, use The Performance eter can also be docked or undocked. 9o e- The &T ?6&eal Time6B CP, meter measures the amount of CP, time used by the audio thread servicing the sound device. Aince it is measuring a single thread, it reflects only the CP, time used by one core, and gives you an indication of how much leeway you have in processing. )f you have anticipative F8 enabled ?and few tracks record armedB, &T CP, will generally be pretty low, as most things should be done asynchronously, allowing the real time thread to Euickly put things together.

"A."3 5us o'i=ing Undo )is ory 2e#avior

(s already discussed ?Chapter !B, three important features of &'(P'&7s Genera+ preferences that enable you to customi9e your ,ndo Kistory behavior are Aave ,ndo Kistory with pro=ect files. (llow load of ,ndo Kistory. Atore multiple redo paths where possible.

(ll of these features can be selected from the Undo 3e ings section of the Op ions; Preferences; Genera+ screen. )f you enable the option to 3 ore 'u+ ip+e redo pa #s %#ere possib+e then during your current work session, any time you use the ,ndo Kistory window to go back to an earlier point, then any actions you take from that point on will be stored as an alternate set of actions to the set of actions already stored. &'(P'& will remember both paths independently of each other. oreover, every time you return to that point, another new undo path will be created. (n e+ample is shown on the right. The highlighted action Add F4 o 5#ain is flagged with FX!G. This means that in addition to the original set of actions, two more undo history paths e+ist where twice we have gone back to that point. ;y right>clicking where shown, we are able to choose which undo state we wish to load, this enabling us to restore those commands and actions. )f you also enable the options to 3ave undo #is ory %i # pro6ec fi+es and A++o% +oad of undo #is ory, then this undo history will still be available to you ne+t time you use this pro=ect file, even if you have since closed &'(P'& and shut down your computer.

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Up and Running: A REAPER User Guide v 4.30

"A."4 Rese REAPER Defau+ 3e ings
&'(P'&7s default settings and configuration can be restored from the :indows Atart menu. %. !. Click on the 3 ar button then A++ Progra's. Click on REAPER then on REAPER Frese configura ion o fac ory defau+ sG.

;efore doing this, it can be wise to back up or e+port elements such as custom toolbars and menus, custom actions and shortcuts, mouse modifiers, color theme changes, etc. in case you want later to restore any of these.

"A."? 3o'e O #er REAPER Op ions

The following are some of the items that appear on the Op ions menu. any of these have been covered elsewhere in this ,ser Huide. )n many cases the function of these commands is self>e+planatoryRecord 'odes- Aee chapter 1 Au oEcrossfade 'edia i e's %#en edi ing - on.off toggle. *ri' con en be#ind 'edia i e's %#en edi ingon.off toggle. 3#o% a++ a&es in +anes- on.off toggle. *a&e +ane be#avior- Ahow or hide empty take lanes. (llow.disallow selecting of empty take lanes. 3#o% over+apping 'edia i e's in +anes - on.off toggle. Ripp+e edi ing- three way toggle D off, per track or all tracks. - e' grouping enab+ed- on.off toggle. 3nap$Grid- enable snapping toggle, show grid toggle, access snap.grid settings. Coc&ingZ on.off toggle, access lock settings. 0e rono'e$prero++- on.off toggle, access metronome settings. Enve+ope poin s- sub menu of options also available by right>clicking on envelope button. Coop poin s +in&ed o i'e se+ec ion - on.off toggle. Au o'a ica++y scro++ vie% during p+aybac&- on.off toggle. 3'oo # see&ing- on.off toggle. E1 erna+ *i'ecode 3ync#ronisa ion- toggle synchronisation on.off, access to synchronisation settings. 3#o% REAPER resource pa # : - shows location of &'(P'& resource files in :indows '+ploreror $A 8 Finder type window. 5us o'i=e 'enus$ oo+bars... - opens customi9e menu.toolbars window. *#e'es- displays sub>menu of installed color themes.

Cayou s- displays sub>menu of track and mi+er layouts. Preferences- opens Preferences window.

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!0 E 0ain Rig# E5+ic& 5on e1 0enus 3u''ary !0 0ain Rig# E5+ic& 5on e1 0enus 3u''ary
)f you7ve got this far then you must have discovered how important right>click conte+t menus are in &'(P'&. &ight click =ust about anywhere and a menu will pop up. That menu will depend on e+actly where the mouse is pointing when you click the right button. Point and right click over a track name or number in the track control panel or mi+er and the track control menu will be displayed. &ight click over a track7s mute button and you7ll get a menu of various mute options. &ight click over a media item and you7ll get a menu of command and actions used for managing, editing or processing media items. any of these have already been e+plained in the preceding chapters. There isn7t room here to review every one of &'(P'&7s right click conte+t menus in detail, but in this section you7ll find a summary of the ma=or ones.

!0." *#e *rac& 5on ro+ Pane+ 5on e1 0enu

This menu is accessed by right>clicking over a track name or number, or over any part of its control panel that does not show a track control.
5o''and -nser ne% rac& 5o''en s )nserts a new track after the currently selected track. )nserts new track after last track in pro=ect. )nserts and builds OATi.D8i on new track. )nserts a new track based on any e+isting template. $ffers you a submenu of templates. Aaves all tracks in current selection as a single track template. &emoves ?deletesB any track or tracks currently selected. Creates a duplicate of any track or tracks currently selected, immediately below the original track. $ffers a sub>menu from which to choose an option for stem rendering or free9ing the current track selection. $ffers a sub>menu of3#o% 0-D- rac& con ro+ pane+ Cin& rac& vo+u'e$pan o a++ 0-D- c#anne+s Cin& rac& vo+u'e$pan o WspecifiedV 0-D- c#anne+ Toggles lock status of all parameter controls on selected track?sB. Toggles free item positioning mode on and off for selected tracks. Toggles automatic record arm status for current track selection. Toggles display of out put of all channels in track meter if the track consists of more than ! channels. Toggles display of Track anager window. Displays a sub>menu of track coloring options. Displays a sub menu to show or hide icons for selected tracks. Displays a sub>menu to set the timebase of selected tracks to Pro=ect timebase ?defaultB, time, beats ?position, length rateB or beats ?position onlyB. Displays a sub>menu to set automation mode for selected tracks to Trim.&ead, &ead, Touch, Match or :rite.

-nser ne% rac& a end of rac& +is

-nser vir ua+ ins ru'en on ne% rac& : -nser rac& fro' e'p+a e

3ave se+ec ed rac&s as rac& e'p+a e : Re'ove rac&s Dup+ica e rac&s Render$free=e rac&s 0-D- rac& con ro+s

Coc& rac& con ro+s Enab+e rac& free i e' posi ioning Au o'a ic recordEar' %#en rac& se+ec ed 0u+ ic#anne+ rac& 'e ering *rac& 0anager Fs#o%$#ide rac&sG 5us o' rac& co+ors 5us o' rac& icons 3e rac& i'ebase

3e

rac& au o'a ion 'ode

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Up and Running: A REAPER User Guide v 4.30

5o''and *rac& perfor'ance op ions 3e rac& +ayou 5o''en s Displays a sub>menu to enable.disable anticipative F8 processing and.or media buffering for selected tracks. Displays a sub>menu to choose a custom TCP and.or for selected tracks. Displays envelopes management sub>menu. odify parameter settings for track groups. 'nables.disables track grouping for selected tracks. CP layout

Enve+opes *rac& grouping para'e ers : *rac& grouping enab+ed

!0.! *#e E'p y *rac& Cis Area 5on e1 0enu

This menu is accessed by right>clicking anywhere in the empty area below the track list in the track pane area.
5o''and -nser ne% rac& -nser 'u+ ip+e rac&s -nser vir ua+ ins ru'en on ne% rac& -nser rac& fro' e'p+a e 5o''en s )nserts a new track below currently selected track. (llows you to insert more than one track at a time. )nserts a new track for a OATi along with multichannel outputs if reEuired. )nserts new track from any template you select. Toggles on and off the display of the master track.

3#o% 'as er rac&

!0.3

*#e *i'e+ine and Ru+er 5on e1 0enu

This menu is accessed by right clicking the mouse in any of the following areas $ver the &uler or Timeline displayed above the first track ?see rightB. $ver the blank area above the ruler. $ver the empty background area in the Track Oiew area. (n e+planation of the menu follows.
5o''and Re'ove se+ec ion Poo' se+ec ion 3e se+ec ion o i e's 5o''en s Deselects current time selection. &emoving the selection does not cause any media items to be deleted. Room to current time selection. akes the selection along the timeline for the whole pro=ect the same as the portion of the timeline covered by the currently selected item or items. ransien in '+tends the area of the selection to the ne+t transient. )nserts marker and opens the (dd current cursor position. arker dialog bo+ at the

E1 end se+ec ion o ne1 i e's -nser 'ar&er :

5rea e region fro' se+ec ion -nser i'e signa ure 'ar&er:

Creates a region from the current selection. (llows you to insert a time signature marker at the current cursor position. &emoves all markers from the currently selected area.

Re'ove a++ 'ar&ers fro' i'e se+ec ion

,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. 1#!

!0 E 0ain Rig# E5+ic& 5on e1 0enus 3u''ary

5o''and 3e pro6ec e'po fro' i'e se+ec ion: 5o''en s Creates pro=ect tempo based on current time selection ?three optionsB. Creates a new measure from the current time selection according to the si9e of the time selection. Creates a new measure from the current time selection with a new time signature. Crops all media items in the pro=ect to the current time selection. )nserts an empty space eEual to the currently selected area into all tracks in the current pro=ect. 'ffectively deletes the currently selected area from the pro=ect, moving all later items up to fill the gap, whether or not ripple editing has been turned on. Pastes any previously cut or copied item into the currently selected track at the current cursor position. Aplits currently selected item or items at the current cursor position. )f no item is selected, splits all items. Aplits currently selected item or items at the start and end of the current loop selection. )f no item is selected, splits all items. Aelects all media items. Copies the selected area of selected items to the clipboard. Copies the selected area as a loop. These si+ options are mutually e+clusive. Aelect any one to set the unit of measurement used for ruler display.

5rea e 'easure fro' i'e se+ec ion Fde ec e'poG : 5rea e 'easure fro' i'e se+ec ion Fne% i'e signa ureG : 5rop pro6ec o se+ec ion -nser e'p y space in se+ec ion Re'ove con en s of se+ec ion F'oving +a er i e'sG Pas e 3p+i i e's a cursor 3p+i i e's a 3e+ec A++ 5opy se+ec ed area of i e's 5opy +oop of se+ec ed area of i e's 0inu es : 3econds 0easures Q 2ea s F0:3 secondaryG 0easures Q 2ea s 3econds 3a'p+es )ours : 0inu es : 3econds : Fra'es i'e se+ec ion

!0.4

*#e 0edia - e's 5on e1 0enu

This menu is accessed by right>clicking over any media item. )f a number of media items have been selected, the command selected from this menu will be applied to all those items. (n e+planation of this menu appears below.
5o''and - e' se ings - e' proper ies: 3ource Proper ies: Group *a&e 5o'ps - e' and a&e co+ors - e' processing 5o''en s $pens the )tem settings sub>menu ?see belowB. $pens )tem Properties dialog bo+. $pens Aource Properties dialog bo+. $pens Hroup sub>menu, to group or ungroup selected items, $pens Take sub>menu for takes management ?see belowB. $pens Comps sub>menu for comps management ?see belowB. $pens color management sub>menu ?see belowB. $pens )tem processing sub>menu ?see belowB.

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Up and Running: A REAPER User Guide v 4.30

5o''and Open i e's in edi or 5o''en s $pens a submenu whose commands are used to open the selected item.items ?or copies of these itemsB with the editor specified under $ptions, Preferences, '+ternal 'ditorsB. $pens selected options. )D) item with &'(P'&7s )D) editor5- several

2ui+ in 0-D- edi or App+y rac& F4 o i e's as ne% a&e App+y rac& F4 o i e's as ne% a&e F'ono ou pu G App+y rac& F4 o i e's as ne% a&e F0-D- Ou pu G Render i e's as ne% a&e Reverse i e's as ne% a&e G+ue i e's G+ue i e's %i #in i'e se+ec ion 5opy i e's 5opy se+ec ed area of i e's 5opy +oop of se+ec ed area of i e's 5u i e's 5u se+ec ed area of i e's Pas e Re'ove i e's *ri' i e's o se+ec ed area 9udge$se i e's 3p+i i e's a cursor 3p+i i e's a prior =ero crossing 3p+i i e's a i'e se+ec ion

This group of commands allows you to process selected items as new stereo takes. This group of commands allows you to process selected items as new mono takes. This group of commands allows you to process selected items as new )D) takes. &enders selected items with any F8 as new takes. &everses selected media item or items as a new take. Soins selected media items into one new item. This group of commands offers three options for copying the current selection to the clipboard. This group of commands offers two options for cutting the current selection to the clipboard. Pastes content of the clipboards to the currently selected track at the current cursor position. Deletes selected media items from the pro=ect. Trims media items to the currently selected area. $pens the <udge.Aet )tems dialog bo+. Aplits currently selected items at current cursor position Aplits currently selected items at the last 9ero crossings point before the current cursor position. Aplits currently selected items at the start and end of the currently selected timeline area. &emoves splits and =oins items as one again.

)ea+ sp+i s in i e's

!0.?

*#e 0edia - e's 5on e1 3ubE0enus

Aeveral of the edia )tems conte+t menu commands cause substantial sub>menus to be displayed, including )tem settings, Take, Comp, )tem and take colors and )tem processing. These are e+plained below.
- e' se ings 3ub 0enu 5o''ands 0u e Coop i e' source P+ay a++ a&es Coc& i e' - e' no es ... 5o''en s Toggles these various )tem Properties parameters. These can also be modified in the )tem Properties dialog bo+. There are also icons that can be used for ute and Mock item. $pens )tem <otes window.

,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. 1#2

!0 E 0ain Rig# E5+ic& 5on e1 0enus 3u''ary

- e' se ings 3ub 0enu 5o''ands -nver p#ase Coop sec ion of i e' source Preserve pi c# %#en c#anging p+ayra e Reverse ac ive a&e *a&e c#anne+ 'odes 5o''en s Toggles phase invert. Toggles loop selection status. Toggles preserve pitch option. &everses the current active take. Aeveral mutually e+clusive options, including <ormal, &everse stereo, ono ?downmi+B, ono ?leftB or ono?rightB. Default is <ormal. Four mutually e+clusive options used to set item timebasePro=ect.track default, Time, ;eats ?position, length, rateB or ;eats ?position onlyB. 5o''en s Choose Custom Color, &andom Color, $ne &andom Color or Default Color. Choose Custom Color, &andom Color, $ne &andom Color or Default Color. 5o''en s Causes the ne+t or previous take to be selected. Causes the currently active ?selectedB take to be deleted. Crops all other takes for this item to the currently active take. Creates a duplicate copy of the currently active take. Mocks currently active take ?toggleB. $pens F8 chain for the currently active take. &emoves all F8 from the takeFs F8 chain. Toggles volume, pan, mute, pitch envelopes for take on.off.

3e i e' i'ebase

- e' and a&es co+ors sub 'enu co''ands 3e i e's o ... 3e ac ive a&es o ... *a&e sub 'enu co''ands 9e1 a&e Previous a&e De+e e ac ive a&e 5rop o ac ive a&e Dup+ica e ac ive a&e Coc& o ac ive a&e 3#o% F4 c#ain for ac ive a&e Re'ove F4 for ac ive a&e *a&e vo+u'e enve+ope *a&e pan enve+ope *a&e 'u e enve+ope *a&e pi c# enve+ope E1p+ode a++ a&es o ne% rac&s E1p+ode a++ a&es Fin p+aceG E1p+ode a++ a&es Fin orderG -'p+ode i e's across rac&s in o a&es -'p+ode i e's on sa'e rac& in o a&es

Three options for e+ploding takes.

Creates one track with a take for each media item selected, where the media items are selected across several tracks, or creates one track with a take for each media item selected, where the media items are all selected from the same track. Pastes to takes in selected items. akes the selected take active. 5o''en s Aaves current takes selection as a new comp. &emoves current comp from Comp sub menu. &emoves all comps e+cept current one from sub menu. oves take selection for active comp to top media item lane. :here comps have been named, these are listed on, and can be made active by selecting from, the Comps menu.

Pas e o a&es in i e's *a&e +ane "; *a&e +ane !; e c 5o'ps sub 'enu co''ands 3ave as ne% co'p ... Re'ove ac ive co'p fro' +is 5rop +is o ac ive co'p 0ove ac ive co'p o op +ane 3aved co'p na'es

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Up and Running: A REAPER User Guide v 4.30

- e' processing sub 'enu co''ands 9or'a+i=e i e's 9or'a+i=e i e's Fco''on gainG Dyna'ic sp+i i e's : Ouan i=e i e' posi ions o grid 0ove i e's o source preferred posi ion -'p+ode i e's across rac&s in o i e's on one rac&. Au oEreposi ion i e's in free posi ioning 'ode E1p+ode 'u+ ic#anne+ audio or 0-D- i e's o ne% 'ono i e's. 5o''en s <ormali9es all selected items, independently of each other. <ormali9es as far as possible all selected items, adding the same amount of gain to each. $pens the dynamic split dialog bo+ for dynamic splitting. Cuanti9es the positions of selected items to grid settings. oves items to source preferred position erges the selected items into a single track. Aets the status of selected items to free positioning mode. )f the media item is a multichannel one, this command will create an additional new mono track for each channel used. )f it is a )D) item, it will e+plode ?or 4dissolve5B )D) channels. Dissolves )D) items by note row instead of channel. Changes a previously ghost copied item into a pro=ect event in its own right. Changes the status of the active ghost copied. )D) take so that it can be

E1p+ode 0-D- i e's by no e ro% Fpi c#G. 5onver ac ive a&e 0-D- o inEpro6ec even 5onver ac ive a&e 0-D- o fi+e Fg#os copyab+eG -'por 'edia cues as pro6ec 'ar&ers

Converts e+isting media cues in an imported item into &'(P'& markers.

!0.B

*#e Record Ar' 5on e1 0enu

This menu is accessed by right>clicking over the &ecord (rm button or O, meter of any track. (n e+planation of the commands follows.
5o''and 0oni or -npu : 0oni or -npu F*ape Au o 3 y+eG 0oni or rac& 'edia %#en recording Preserve PD5 de+ayed 'oni oring 5o''en s The first two of these options are mutually e+clusive- you should select whichever of these you prefer if you wish to use &'(P'&Fs input monitoring. Iou do not need to select either of these options, however, if using any input monitoring facility supplied by your sound card. $ptionally, you may choose to also monitor track media when recording. )n most cases, for normal audio recording you will want to select Record: inpu to record the incoming audio signal.

Record: inpu Faudio or 0-D-G Record: 0-D- overdub in e1is ing i e's Record: 0-D- rep+ace in e1is ing i e's Record: 0-D- ouc#Erep+ace in e1is ing i e's Record: 0-D- +a c#Erep+ace in e1is ing i e's Record: ou pu

,se any of these to select one of four modes e+plained in Chapter 1.

)D) recording

,sed to record a track7s output ?post F8B. $ptions include multichannel, stereo or mono ?with or without latency compensationB and )D) output. ,se this command to force recorded input into mono, stereo, multichannel or )D) format. (llows for input monitoring without recording.

Record inpu Fforce for'a G Record: disab+e Finpu 'oni oring on+yG

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!0 E 0ain Rig# E5+ic& 5on e1 0enus 3u''ary

5o''and -npu : 0ono -npu : 3 ereo -npu : 0-D-npu : 9one Au o'a ic recordEar' %#en se+ec ed *rac& recording se ings ... 5o''en s Displays sub menu from which to select the reEuired mono input from your sound card. Displays sub menu from which to select the reEuired stereo input from your sound card. Displays a menu from which to select your reEuired device and channels Disables recording input. Causes the track to be auto armed when selected. $pens Track &ecording Aettings dialog bo+, used to change recording format settings and.or input Euanti9e settings for this track. $pens F8 browser to select F8 to be used when input is recorded. )D)

*rac& inpu F4 c#ain

!0.> *#e Enve+opes 5on e1 0enu

The envelope menu ?leftB is commonly accessed by right>clicking over any e+isting point on an envelope. &ight clicking over an e+isting envelope but not on a specific point produces a similar menu, but instead of point editing commands such as 3e poin va+ue: and 3e poin s#ape, you will find the command 5rea e ne% poin . (n e+planation of this menu appears below.
5o''and 3e poin va+ue: 3e poin s#ape 3e s#ape for se+ec ed poin s 3e enve+ope defau+ poin s#ape 3e+ec a++ poin s Unse+ec a++ poin s 3e+ec a++ poin s in i'e se+ec ion 5opy poin s 5u poin s 5o''en s $pens a dialog bo+ in which you can specify a different value for the specific point, and, if you wish, position and shape. Mets you specify any of the si+ available shapes for the current point. Aets shape for all points in current selection. (llows you to change the default shape that will be applied to new envelope points. Aelects all points in the envelope. ,nselects all points in the envelope. Aelects all points on the envelope that are contained within the currently selected area along the timeline. Copies currently selected envelope point or points to the clipboard. Cuts currently selected envelope point or points to the clipboard. Pressing 5 r+ V causes cut or copied points to be pasted onto whichever envelope is currently selected, at the cursor position. Deletes the envelope point. Deletes all currently selected envelope points. Deletes all points on current envelope that are contained within the currently selected area along the timeline. Causes currently selected envelope points to be inverted. &esets all currently selected envelope points effectively to a 4neutral5 value.

De+e e poin De+e e se+ec ed poin s De+e e poin s in i'e se+ec ion -nver se+ec ed poin s Rese poin s o =ero$cen er

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Up and Running: A REAPER User Guide v 4.30

5o''and Reduce nu'ber of poin s 5o''en s Displays the &educe Points dialog bo+, enabling you to reduce the number of points in either the whole envelope or only the current time selection. (rms the envelope ready for recording, for e+ample to write automation changes to the envelope. Determines whether envelope will be shown in its own lane or not. Kides the envelope whilst keeping it active. Kidden envelopes can be redisplayed using the 'nvelopes window. Toggles the bypass state of the envelope. &emoves all points from the current envelope. Iou are prompted to indicate whether you also wish to remove the envelope completely.

Ar' enve+ope for recording 3#o% enve+ope in +ane )ide enve+ope 2ypass enve+ope 5+ear or re'ove enve+ope

&ight clicking over the background area of any envelope lane in the track control panel will produce a conte+t menu with three sets of commandsE1is ing avai+ab+e enve+opes - ,sed to change the envelope displayed in this lane. Enve+ope 'anage'en : Commands to show, hide, arm or disarm all envelopes on this track, or to move all visible envelopes into or out of lanes. Au o'a ion 'ode: Change your reEuired automation mode for this track.

!0.@ *#e *ranspor 2ar 5on e1 0enu

This is accessed by right>clicking on the Transport ;ar. (n e+planation of the menu commands appears below. ore specific conte+t sensitive menus are available by right clicking over many of the items on the transport bar. For e+ample, right>clicking on the Record button gives you a menu of the three record mode options. &ight clicking on the play rate fader displays the play rate sub menu.
5o''and /u'p o 'ar&er P+ayra e *ranspor E1 erna+ i'ecode 3ync#roni=a ion Au o'a ica++y scro++ vie% during p+aybac& 3'oo # see&ing Fsee&s a end of 'easureG Record 'ode: nor'a+ Record 'ode: i'e se+ec ion au o punc# Record 'ode: au oEpunc# se+ec ed i e's Use ru+er i'e uni 5o''en s Displays a fly out menu of markers. Click on any marker in the list to =ump to it.

Displays a sub menu of options for ad=usting the play rate ?with or without preserving pitchB and to set the play rate fader range.
Displays a sub menu of various actions eEuivalent to the Transport control buttons > play, record, pause, stop, go to start, go to end, etc. ,sed to synchroni9e &'(P'&Fs clock to an e+ternal device. :hen selected, screen display follows play cursor during playback. :hen enabled, moves play cursor on stop.pause to end of measure. Aelects one of the three recording modes e+plained in Chapter 1. The three options are mutually e+clusive.

'nsures that whatever time unit is selected for the ruler is also used on the Transport ;ar. (lternatively, you can select one of the other options ?see belowB.

,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. 1#3

!0 E 0ain Rig# E5+ic& 5on e1 0enus 3u''ary

5o''and 0inu es : 3econds 0easures Q 2ea s $ 0 3 0easures Q 2ea s 3econds 3a'p+es )ours:0inu es:3econds:Fra'es 3#o% p+ayra e con ro+ 3#o% i'e signa ure 3#o% p+ay s a e as e1 5en er ranspor con ro+s Doc& ranspor in doc&er Doc& ranspor in 'ain %indo% Doc&ed ranspor posi ion )ide ranspor 5o''en s Aelect your preferred unit of measurement for display on the Transport ;ar. These options are mutually e+clusive.

Toggles on and off display of playrate controls in transport bar, Toggles on and off display of time signature in transport bar. Toggles on and off te+t display of play state in transport bar D Playing, Atopped, etc. Toggles display of transport controls ?Play, Atop, etcB in center or on left.. Toggles docking transport bar in one of &'(P'&7s dockers. Toggles on and off docking of Transport ;ar in &'(P'&7s main window. $ffers a submenu of four options for the position of the transport bar when docked in &'(P'&7s main window. Kides the Transport ;ar. To redisplay, press 5 r+ A+ *.

!0.A

*#e Rou ing 0a ri1 5on e1 0enu

This menu is displayed by right>clicking on the empty background area of the matri+. The commands are used mainly to determine which
items are and are not shown in the routing matri+. '+actly which items you will wish to show will vary at different times in your pro=ect7s life cycle. aking the right selection for the right time can prevent screen clutter and make the matri+ easier to work with.
5o''and 0a ri1 'ode 3#o% EEEE as des ina ion 3#o% EEEE as sources Doc& rou ing %indo% in doc&er 5o''en s Decides whether the routing or grouping matri+ is shown.

Determines which items are and are not shown as destinations for sends in the header row. Determines which items are and are not shown as sources of sends in the left hand column. Determines whether the matri+ is or is not docked.

!0."0 *#e F4 (indo% 5on e1 0enu

This menu is accessed by right> clicking within any trackFs F8 chain window. (n e+planation of the commands on this menu appears below.
5o''and Add F4 : F4 c#ains 5o''en s $pens (dd F8 :indow to add one or more plug>ins to the current F8 chain. Displays a sub>menu with options for loading and saving F8 chains.

For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' 1#Q

Up and Running: A REAPER User Guide v 4.30

5o''and Free=e rac& 5o''en s Displays sub menu with various options for free9ing the track ?e.g. mono, stereo or multichannel, up to last non>offline F8 or up to last selected F8. Copies all F8 in chain to clipboard. Copies currently selected F8 to clipboard. Cuts currently selected F8 to clipboard. Copies all F8 in current F8 window to clipboard. Pastes F8 from clipboard into current F8 window. &emoves all selected F8 from current F8 window. &emoves all F8 from current F8 window. Aelects all F8 in current F8 window. Toggles bypass of all currently selected F8. Toggles online.offline status of all currently selected F8. (llows you to assign a specific name for this instance of the plug>in. Floats selected F8 so that they are displayed independently of the F8 window. akes the F8 chain in the current F8 window the default F8 chain automatically inserted when you create new tracks. Moads the current default F8 chain into the currently open track F8 window. Creates multichannel.multitrack where appropriate- for use with multichannel OATis and D+is. :here appropriate, for use with multichannel OATis and D+is. Toggles the docked.undocked status of the F8 window. Closes the F8 window.

5opy a++ F4 5opy se+ec ed F4 5u se+ec ed F4 5opy a++ F4 Pas e F4 Re'ove se+ec ed F4 Re'ove a++ F4 3e+ec a++ *ogg+e se+ec ed F4 bypass *ogg+e se+ec ed F4 off+ine Rena'e F4 -ns ance (indo% f+oa se+ec ed F4 3ave c#ain as defau+ for ne% rac&s Coad defau+ rac& c#ain

2ui+d 'u+ ic#anne+ for ou pu of se+ec ed F4 2ui+d "B c#anne+s of 0-D- rou ing o #is rac& Doc& F4 %indo% in doc&er 5+ose F4 %indo%

!0."" *#e 0edia E1p+orer 5on e1 0enu

&ight>clicking over any vacant area within this window produces a conte+t menu that is the same as the edia '+plorer7s $ptions menu. )n addition, right>clicking over the name of any media item will produce its own conte+t menu.
5o''and -nser in o pro6ec -nser a i'e se+ec ion Fs re c#$+oop o fi G 5o''en s )nserts into selected track at play cursor position. )nserts into selected track at time selection, stretching.looping to fit. )nserts at play cursor position on to a new track. (dds the selected item in the media e+plorer to the selected item in (rrange view as a new take. &eplaces current media source in item currently selected in (rrange view.

-nser in o pro6ec on a ne% rac& -nser as a&e in se+ec ed i e's Use as 'edia source for se+ec ed i e'

,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. 13"

!0 E 0ain Rig# E5+ic& 5on e1 0enus 3u''ary

5o''and 5o''en s &eplaces current media source in item currently selected in (rrange view, stretching.looping to fit. Previews this item.

Use as 'edia source for se+ec ed i e' Fs re c#$+oop o fi G Previe%

!0."! *#e 0-D- -nECine Edi or and 0-D- Edi or 5on e1 0enus
&ight>clicking within the )D) )n>Mine 'ditor the conte+t menu shown here. These commands are a subset of some of the )D) 'ditorFs menu commands and are e+plained in detail in Chapter %!. The first section ?from -nser no e a edi cursor to 9o e c#anne+B contains the same commands as the right click notes menu in the )D) 'ditor. The 9o e c#anne+ command displays a sub menu of channels % thru %N. The second section ?from Ouan i=e even s to 3e no e ends o s ar of ne1 no eB can also be found on the Edi menu in the )D) 'ditorFs main menu. The Vie% command leads to a sub>menu similar to the Oiew command on the )D) 'ditor main menu. The remaining commands include some of the other options found on the )D) 'ditor7s main menu.

*#e 0-D- Edi or 5on e1 0enu

&ight clicking over the title bar in the )D) 'ditor ?or tab if dockedB produces a composite menu made up of all the commands on its main menu. The commands are grouped, first the Fi+e commands, then Edi commands, then 9aviga e commands, then Vie%, then Ac ions, then 9aviga e. These commands are e+plained in detail in Chapter %!.

For a spiral>bound hard copy of this ,ser Huide for about T1" go to CUCU.co' 13%

Up and Running: A REAPER User Guide v 4.30

,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. 13!

Using REAPER %i # O #er App+ica ions and Devices !" Using REAPER %i # O #er App+ica ions and Devices
!"." (#a is ReaRou eU
&ea&oute is an (A)$ driver that allows you to route audio to and from any other (A)$ enabled application. &ea&oute is only installed on your system if you select the ReaRou e A3-O driver during the &'(P'& installation process. This option is found on the &'(P'& Aetup screen on the 5#oose 5o'ponen s page ?shown rightB, under the heading Addi iona+ Func iona+i y. )f you did not have this option selected ?or if in doubtB when you last installed &'(P'&, simply reinstall &'(P'&, this time making sure that you have this option selected. :hen you choose to install &ea&oute, the ReaRou e A3-O driver appears in the (A)$ driver list for the other audio applications on your system. 9o e: Aome users have reported problems with native (A)$ drivers after installing the &ea&oute driver. )f you e+perience problems with your (A)$ drivers after installing this feature, uninstall &'(P'&, then re>install with this check bo+ cleared. $nce &ea&oute has been installed, you can pass audio streams between &'(P'& and other audio applications. )n the e+ample that follows, we will use the e+ample of sharing audio between &'(P'& and Aonar. The same principles apply, however, if you are working with an application such as Cubase or (bleton Mive instead of Aonar. )n this section, you will be introduced to using &ea&oute by working thru the following tasks Aetting up Aonar ?or any other D(: application of your choiceB to work with &ea&oute. Aending a pro=ect out from &'(P'& to that application and recording it track by track within that application. Aending a pro=ect from Aonar to &'(P'&, this time bringing it in as a series of submi+es. Iou can then apply &'(P'& features to that pro=ect. ,sing a stand alone synthesi9er workstation such as Pro=ect P in con=unction with &'(P'&.

Please remember that the purpose of this e+ercise is to teach you how you can go about sharing audio between different applications. Kow you apply that knowledge, and what benefits you derive from it, is of course up to you.

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!".! 3e ing Up App+ica ions for ReaRou e

;efore you can use any audio application with &'(P'& via &ea&oute, you need to ensure that the audio settings for that application are set up correctly. There are usually one or two basic steps involved. The first is to enable ReaRou e A3-O as the preferred driver, the second is to enable the various input and output channels reEuired to transmit audio between the application and &'(P'&. :ith some applications, this second step is not reEuired. The method will vary with the application, but always involve specifying your preferences on the Audio 3e ings dialog bo+ ?or similarB. The table below gives some e+amples. They are accurate at the time this is being written, but be aware that all software programs are likely to change over time. )f you are using a different application, you should be able to work out what is reEuired. 9o e: ;efore setting up or using any application for use with &ea&oute, you should ake sure that the &ea&oute (A)$ Driver has been installed ?see previous pageB, and ake sure that &'(P'& is open and minimised. -ns ruc ions %. !. 1. Ab+e on Cive 2. P. N. FC 3 udio Pro6ec ? Op ions; Preferences then click on the Audio tab. Aet Driver *ype to A3-O. Aet Audio Device to ReaRou e A3-O. Click on -npu 5onfig then on each input channel that you wish to enable, then OI. Click on Ou pu 5onfig then on each output channel that you wish to enable, then OI. Close Preferences window.

App+ica ion

Op ions; Audio 3e ings, then select ReaRou e A3-O for Ou pu . Close (udio Aettings window. Op ions; Audio then under Audio Driver 3e+ec ion Q Ou pu s select ReaRou e A3-O ReaRou e 5+ien EM REAPER " FA3-OG then OI. %. !. 1. Op ions; Audio; Advanced then set Driver ode to A3-O then OI.

Op ions; Audio; Drivers then disable all e+isting drivers ?input and outputB Op ions; Audio; Advanced then set Device to ReaRou e A3-O F@ in; @ ou G then OI Op ions; Audio; Drivers and enable all &ea&oute drivers, then OI.

3onar

2.

9o e: These instructions are for Aonar 3.P. Aome earlier versions of Aonar reEuire that you e+it and restart the program before certain changes to audio settings are applied. ;ecause of this, you may not be able to complete all of these steps at once D you may find that you have to close and reopen the program after each step before you can go on to the ne+t one. %. Click on the 3e ings tab. !. From the (ave Device drop down list choose ReaRou e A3-O.

*rac& ion

1. Click once on the red word disab+ed for each channel that you wish to use. The display should change for each item clicked on to green enab+ed. 2. Click on the Pro6ec s tab when finished.

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Using REAPER %i # O #er App+ica ions and Devices

!".3 3ending Audio fro' REAPER o Ano #er App+ica ion

;efore attempting this e+ample, make sure that you have installed the &ea&oute (A)$ Drivers and that you have set up your other D(: application ?such as Cubase, Aonar, (bleton Mive, Tracktion or AamplitudeB to use &ea&oute Drivers, as e+plained on the previous page. )n this e+ample, we are going to send a pro=ect from &'(P'& to Aonar. Iou might wish to do this, for e+ample, to use Aonar to apply O>Oocal to a vocal track. $f course, the same principles would apply if you were using a different application other than Aonar, such as Cubase, (bleton Mive, or Aamplitude. Provided you know your other application well enough and have already set it up to use &ea&oute ?see previous pageB you should have no difficulty in applying these guidelines. The general guidelines are $pen &'(P'&. )t is important that you open &'(P'& before the other application.
$pen the pro=ect file that you wish to use. For each track that you wish to use, create a hardware output to a different &ea&oute channel. $pen the other application ?e.g. AonarB and create a new pro=ect file. )nsert into your new file one new track for each track that you wish to bring in from &'(P'&. For each track, the input should be set to correspond with the eEuivalent output used in &'(P'&. For e+ample, if in &'(P'& you set a trackFs output to &ea&oute Channel %, then the corresponding new track in Aonar will need to have its input set to Meft &ea&oute (A)$ &ea&oute &'(P'& Channel %. :ithin the second application, start recording. :ithin &'(P'&, play the song. Atop both when the song finishes. Iou can then do whatever work you wish. (n e+ample follows shortly. :hen finished, first close the other application and then close &'(P'&. Iou should always remember D $pen &'(P'& first, close it last.

$f course, in many cases it would be easier and Euicker simply to import the wave files directly into the second application. There are, however, other instances when it may be advantageous to use &ea&oute instead. For e+ample )t might not be easily possible to line up all tracks. Aome may start and finish at different times. $thers might consist of a large number of media items each of short duration. )t would be difficult to import these piecemeal. Aome tracks might consist of a combination of )D) items and audio items. any applications do not let you mi+ )D) and audio on the same track. This way, they are all taken across as audio.

E1a'p+e
%. Atart &'(P'&. $pen the file A++ *#roug# *#e 9ig# .RPP and save it as A++ *#roug# *#e 9ig# REAROU*E.RPP. Aelect the first track. Display the &outing ?)$B window for this track and add a hardware output to ReaRou e 5#anne+ " as shown ?rightB. Aimilarly, create hardware outputs for track ! to &ea&oute Channel !, track 1 to &ea&oute Channel 1, and Track 2 to &ea&oute Channel 2. Aave the file. inimi9e &'(P'&. $pen Aonar ?or whichever application you are usingB. These instructions refer to A$<(& 3.P and assume that you are already familiar with how to give commands and perform basic tasks in this application.

!.

1.

2. P.

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Up and Running: A REAPER User Guide v 4.30

N. #. 3. Create a new pro=ect file containing four new audio tracks. Aave this as A++ *#roug# *#e 9ig# REAPER.c%p. <ame these tracks as shown below. Aet the )nput for *rac& " to Cef ReaRou e A3-O REAPER[M5C-E9* " as shown below. Aet the )nput for *rac& ! to Rig# ReaRou e A3-O REAPER[M5C-E9* "; the )nput for *rac& 3 to Cef ReaRou e A3-O REAPER[M5C-E9* 3; and the )nput for *rac& 4 to Rig# ReaRou e A3-O REAPER[M5C-E9* 3. (rm all four tracks for recording.

Q.

Aave this file.

%". Atart &ecording. %%. Awitch to &'(P'& and press P+ay. (s the song is played back, the tracks will be recorded in Aonar. <ote that if any of your &'(P'& tracks have any active F8 in their F8 windows, then unless the sends are Pre F8 it will be the post F8 signal that will be recorded in Aonar. %!. :hen the song finishes, stop the recording in Aonar, then stop playback in &'(P'&. %1. )n Aonar, unarm the four tracks. %2. The file should now resemble that shown below. 3ave this file, then wait. :e will shortly be using Aonar to do some work on this file. eanwhile, keep &'(P'& and Aonar both open.

13N

Using REAPER %i # O #er App+ica ions and Devices

!".4 3ending Audio Fro' Ano #er DA( App o REAPER

Ataying with the same e+ample, we are now going to use &ea&oute to take our open Aonar pro=ect and send an audio signal back to &'(P'&. )n overview, this is how it is done. $pen &'(P'& and create a new pro=ect file. )nsert as many new tracks as you need. $pen Aonar. )n Aonar, open the file you wish to work on, and assign outputs on a track by track basis to your various &ea&oute channels as reEuired. (rm these tracks for recording. )nsert any F8 ?such as O>OocalB that you may wish to use in your Aonar tracks. (ssign the outputs of your Aonar tracks to the various F8 channels as reEuired. Play the song in Aonar, ad=usting your F8 to suit. :hen ready, start recording in &'(P'&, then play the song in Aonar from the beginning. :hen finished, stop both playback and recording.

E1a'p+e )f you are carrying on from the '+ample in the previous section, go straight to step 1 below. $therwise G
%. $pen &'(P'&. !. $pen Aonar, then open the file (ll Through The <ight &'(P'&.cwp D this file was created in the previous e+ample. 1. )n &'(P'&, create a new pro=ect file. Aave it as A++ *#roug# *#e 9ig# 3O9AR.RPP. )nsert two tracks into this pro=ect. (rm both these tracks for recording. 2. For the first of these tracks, set the input to ReaRou e "$ ReaRou e !, as shown right. P. For the second of these tracks, set the input to ReaRou e 3$ ReaRou e 4. Hive both tracks a suitable name. N. :e are going to use Track % to import the Oocal track from Aonar, and Track ! to import an instrumental submi+. For both these tracks, make sure that -npu 0oni oring is turned on. #. )n Aonar, set the input of all tracks to <one. Aet the output of Track % to ReaRou e A3-O ReaRou e 5+ien [MREAPER " , as shown right.

3. )n Aonar, for tracks !, 1 and 2 set the output to ReaRou e A3-O ReaRou e 5+ien [MREAPER 3 Q. )n Aonar, play the song in Aonar. (d=ust the panning and levels of the instrumental tracks D Track ! 2"J Meft, Track 1 2"J &ight, Track 2 Centre. %". )n Aonar, insert any Cakewalk F8 reEuired for the vocal in the Oocal Track. For e+ample, you could use the O8N2 Oocal Atrip. %%. :hen you are ready, in &'(P'&, start recording. %!. )n Aonar, play the song from the beginning. %1. :hen finished, stop both playback and recording, save your Aonar file, then close Aonar.

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Up and Running: A REAPER User Guide v 4.30

%2. )n &'(P'&, unarm your tracks. Aave your pro=ect, which should now look similar to that shown above. %P. <otice that the first track contains the Oocal ?with Cakewalk F8B and the second track the instrumental submi+. %N. Iou can now finish this pro=ect in &'(P'&. For e+ample, you could insert &eaComp into the )nstrument Aubmi+ Track, define this track as four channels, then create a send from the Oocal Track to channels 1 and 2 of the )nstrumental Track. This could then be used for audio ducking, to ensure that the voice floats smoothly above the instruments. ?(udio ducking is e+plained in detail elsewhere this ,ser HuideB.

!".?

Using REAPER (i # a 3yn # (or&s a ion

Pro=ect P from Cakewalk is a Aynthesi9er :orkstation application. )t7s been around for a few years now. Iou can use Pro=ect P or any other broadly eEuivalent product for this e+ercise. )n this section, you will see how &ea&oute can be used to make the functionality of Pro=ect P ?or any similar applicationB available to you when you are working with &'(P'&. To be able to work thru this e+ample, you will need to already know how to use Pro=ect P ?or whichever synth app you are usingB to create musicB.

;efore proceeding with this section, you will need to ensure that your &ea&oute (A)$ drivers have been installed ?see Aection !".%B and that the Aynth :orkstation program has been set up to use them ?see Aection !".!B.

E1a'p+e
)n this e+ample, you will be shown how to use &ea&oute to allow you to use a synth workstation program such as Pro=ect P to record tracks onto &'(P'& for an e+isting &'(P'& pro=ect file. %. !. $pen &'(P'&. $pen the file A++ *#roug# #e 9ig# 3O9AR.RPP and save it as A++ *#roug# #e 9ig# PRO/?.RPP (dd a track at the end of this pro=ect. <ame this track 3yn #s. (rm this track for recording, turn input monitoring on and set the Track )nput to Atereo, ReaRou e 5#anne+ " $ ReaRou e 5#anne+ !. $pen Pro6ec ? and create a new pro=ect file. Choose the Op ions. Audio command and direct output to ReaRou e A3-O ReaRou e 5+ien [M REAPER " FA3-OG as shown here.

1.

2.

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Using REAPER %i # O #er App+ica ions and Devices

P.

For this simple e+ample, insert a synth of your choice into your Pro=ect P pro=ect file. $f course, you could if you wish insert several different synths and take full advantage of the programFs features, but for this simple demonstration we will confine ourselves to =ust the one. :ithin &'(P'&, make sure your cursor is at the start of the pro=ect. Press Record. :ithin Pro=ect P, play the Aynth to compose a track to accompany your &'(P'& song. (s you do so, &'(P'& will record it as a wave file. This is additional to any activity that occurs within Pro=ect P. :hen you have finished, save your Pro=ect P file as ReaRou e De'o.p?p and close the program. )n &'(P'&, unarm the Aynths track and save your file.

N. #. 3. Q.

!".B

3yncing o an E1 erna+ Device

)f you are using &'(P'& in con=unction with an e+ternal device then you may need to ensure that your D(: is in sync with that device, and to take its time clock from that device. For e+ample, you may need to slave &'(P'& to another D(:, or to a video deck. (nother e+ample might be if you need to upload time> stamped material from (D(T tape. To synchroni9e &'(P'& to an e+ternal timecode, follow this seEuence &ight click over the P+ay button on the Transport ;ar. This opens the settings dialog bo+ shown here. Aelect the )nput to be used. (vailable sync types include (A)$ Positioning Protocol, TC and APP. Complete the other settings and close the dialog bo+. Iou should consult the documentation of your e+ternal device for further information. To play &'(P'& in sync with an incoming timecode, hold the A+ key while right clicking on the play button. A+ Rig# 5+ic& over the Play button toggles this slave to timecode on and off. REAPER 3ync *ypes F3u''aryG 3ync *ype A3-O Posi ioning Pro oco+ 5o''en Creates a synchroni9ation that is sample accurate with the e+ternal device. )n other words, the time code has as many time locations as your pro=ects sampling rate. &eEuires that your audio hardware uses (A)$ !." drivers. This is the same as A PT'. )t is a time based method of synchroni9ation which uses hours, minutes, seconds and frames. (s its name implies, this is also a time based method of synchroni9ation which uses hours, minutes, seconds and frames. )t is simply a conversion of the A PT' code that is transmitted via the )D) cable. This method is based on bars, beats and subdivisions of beats. The information is transmitted along with TC data, every si+ clocks or ticks. For some devices, this is all you need.

Cinear *i'e 5ode FC*5G 0-D- *i'e 5ode F0*5G

3ong Posi ion Poin er F3PPG

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Up and Running: A REAPER User Guide v 4.30

*#e 5on e1 0enu
The commands for enabling.disabling e+ternal timecode synchroni9ation and for changing the settings are also available on &'(P'&Fs *ranspor 2ar conte+t menu and on the main Op ions menu.

Assignab+e Ac ions
The following actions are assignable using the keyboard shortcut editor ?(ctions, Ahow (ction MistBAhow e+ternal timecode synchroni9ation settings. Toggle e+ternal timecode synchroni9ation.

3ending 5+oc&$3PP fro' REAPER o an e1 erna+ 0-D- Device

To send Clock.APP data from &'(P'& to an e+ternal )D) device, you need to enable the feature under Op ions; Preferences; 0-D- Devices. Double>click on the device name to open the 5onfigure 0-D- -npu dialog bo+, and select the option 3end 5+oc&$3PP to output.

!".>

Genera ing and 3ending *i'ecode

The command -nser ; 30P*E C*5$0*5 *i'ecode Genera or ?from the main menuB can be used to send a synchroni9ation timecode from &'(P'& to an e+ternal device. This command inserts on to the current track a media item which is used to generate the timecode. &ight>click over the item and choose 3ource proper ies from the conte+t menu to display the settings bo+ shown here. Aelect MTC ?linear.longitudinal time codeB or TC ? )D) time codeB and configure the various parameters as reEuired.

1Q"

!! E 3o'e O #er REAPER Fea ures FOvervie%G !! 3o'e O #er REAPER Fea ures FOvervie%G
:eFve =ust about come to the end of this ,ser Huide D and thereFs still a few things that we havenFt really told you about* $nce you get up and running with &'(P'&, youFll find thereFs heaps more information available to you on the &'(P'& :)@) and of course thru the user forums. Iou can find these athttp-..www.cockos.com.wiki. and http-..www.cockos.com.forum. )n this section, we are =ust going to introduce you in overview to some of these features, =ust so that youFll get an idea of some of &'(P'&Fs other capabilities.

!!."

REAPER and Video

&'(P'& can be used to edit the soundtrack of your video files, such as .(O), . PH and .: O files. These files are imported using the -nser ; 0edia Fi+e command, or by simply dragging and dropping into &'(P'&7s (rrange window. )n addition, you can use the *rac&; -nser *rac& fro' *e'p+a e command to import data from a .'DM file. ,se the Vie%; Video (indo% command, 5 r+ 3#if V, to show the Oideo :indow. For :indows users, video playback is handled by Direct Ahow- $A 8 uses Cuick Time. ,se the Op ions menu in this window? shown rightB if you wish to resi9e it.. $ther commands on this menu included Video i e' proper ies. This opens a window revealing the properties ?length, video, audio, decoding format, etc.B of the video item. Iou cannot perform any video editing within &'(P'&, but you can work on the soundtrack. Iou can edit the e+isting soundtrack, and.or add create new tracks and media items to be mi+ed with it. )n the illustration above, Track % contains the original soundtrackZ Track ! contains a voice over that has been added in &'(P'&. The (udio Tracks can then be mi+ed down and rendered in the usual way to a new .:(O file. This can be imported back into the original video file using a program such as Oegas. )n addition, the Fi+e; Render command can be used to e+port a video file from &'(P'&, for e+ample in .(O) format. Aelect the Ou pu for'a Video FFF'peg encoderG and specify your various settings and options

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Up and Running: A REAPER User Guide v 4.30

?file format, codecs, frame rate, bit rate, etc.B. The button marked in the above screen shot by the mouse cursor position can be used to set width, height and frame rate to match the current video file. (t %i&i.coc&os.co'$%i&i$inde1.p#p$Video73uppor you can find more tips and information about working with video files in &'(P'&, including how you can add improved video support by installing FFmpeg libraries.

!!.!

Rea3crip

&eaAcript is a scripting language that takes your ability to customi9e &'(P'& well beyond that offered by the (ctions Mist editor. :ith &eaAcript, you can not only create more powerful and sophisticated macros, you can even create your own e+tension commands. For :indows users to use &eaAcript, you will first need to have the Python scripting language installed on your computer. &eaAcript isn7t for everyone D in fact, because it reEuires an understanding of programming it probably isn7t for most people. Iou can find out more about &eaAcript by choosing )*0C Cis s then Rea3crip docu'en a ion from &'(P'&7s )e+p menu, and by clicking on the option Vie% Rea3crip )e+p on the Plug>ins, &eaAcript page of &'(P'&7s Preferences window. For more about &eaAcript and how to get started see also http-..www.cockos.com.reaper.sdk.reascript.reascript.php To be able to use &eaAcript, enable it under Op ions; Preferences; P+ugEins; Rea3crip ?aboveB. $n the E1 erna+ Edi ors preferences page you can also specify an e+ternal editor for writing and editing scripts.

!!.3

Rea0o e

&ea ote is &'(P'&7s network F8 functionality. )t allows you to have any F8 chain in your pro=ect processed on a remote machine on your local network. This is useful if you want to add more CP, power to your pro=ect ?to run various F8B without upgrading your main host7s CP,. Iou will need to set up &ea ote and install &'(P'& and your plug>ins on the slave machines. For $A 8 users, &ea ote can be installed when &'(P'& is installed, by dragging and dropping the &ea ote icon into the (pplications folder icon. For :indows users, make sure when installing &'(P'& that you have Rea0o e selected and enabled under Addi iona+ func iona+i y on the 5#oose co'ponen s page of the install wi9ard. &un the &ea ote slave on the slave machines, then enable Rea0o e in the REAPER Preferences on the master, specify your settings and options, and you7re ready to go* To learn more about how to set up and use &ea ote, go to %i&i.coc&os.co'$%i&i$inde1.p#p$Rea0o e.

!!.4

REAPER and 9-9/A0

<)<S( is an innovative software program that allows musicians to collaborate in 6fake time6 over the )nternet. The software connects to a central server where participants can share audio and te+t information, and has the ability to record both the local and remote channels of each 6session6 ?audio onlyB. &'(P'& has the ability to import these recorded session files to allow you to edit and mi+ at your leisure. 6Fake time6 means that some players will hear a delayed version to which they play along. To learn more about the <)<S( software or download a copy, visit %%%.coc&os.co'$nin6a'$ To learn more about using <)<S( with &'(P'&, visit the Cockos :)@) %i&i.coc&os.co'$%i&i$inde1.p#p$9-9/A07Docu'en a ion

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!3 E *roub+es#oo ing REAPER !3 *roub+es#oo ing REAPER

This section aims to help you resolve problems that are sometimes encountered by new users.

!3."

-npu $Ou pu -ssues

-npu Ou pu -ssues
Prob+e'
(#en - p+ay bac&; 'y audio rac& is si+en ; even #oug# #ere is ac ivi y in #e rac&Ns VU 'e er.

Diagnosis and Possib+e 3o+u ion

The problem is likely to be either with your routing in &'(P'&, your sound cardFs settings or with your audio hardware setup. REAPERNs Rou ing: ake sure that the trackFs output is directed to the master. ake sure that the aster output is directed to the outputs on your sound card to which your speakers or headphones are attached. 3ound 5ard 3e ings: ,se the control software supplied with your soundcard to make sure that none of the following has occurred $utput muted, or volume lowered too much. $utput patched to different hardware output. Audio )ard%are 3e up: ake sure that the amplifier is connected to the same outputs on the soundcard as the output of the aster. ake sure that everything is connected to the power supply, switched on, and with appropriate volume levels. ,se :indows Device anager ?Control Panel, Aystem, Kardware, Device anager, Aound Oideo and Hame ControllersB to ensure the device is enabled and functioning correctly. *ips: $pening a different audio application and playing any wave file can help you determine whether the problem lies within &'(P'& or with your Aound Card or (udio Aetup. The device may not be connected, or may be in use by another program. Check that the device is connected and supplied with power. Check whether another program has use of the )D) device. Check that you have not accidentally opened &'(P'& twice. The problem is likely to be specifically related to that track or item, especially if you have other pro=ects which do play correctly. ake sure that the track has not been muted. ake sure that the item has not been muted ?right click over item, )tem PropertiesB. Check the F8 :indow for the track to make sure there is no F8 which is causing the track to be silenced. Check the trackFs volume fader to make sure it is not set too low. The problem could be happening in the trackFs F8 window or in the plug>inFs own window, or both. Check that the trackFs F8 :indow has not been set to bypass mode. Check that the individual F8 has not been set to bypass mode.

- ge an error 'essage o #e effec #a 0-D- deviceFsG canno be opened

(#en - p+ay bac&; 'y audio rac& is si+en ; and #ere is no ac ivi y in #e rac&Ns VU 'e er.

(#en - p+ay bac&; - donN #ear so'e or a++ of a rac&Ns F4 being app+ied

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Up and Running: A REAPER User Guide v 4.30

-npu Ou pu -ssues
Prob+e' Diagnosis and Possib+e 3o+u ion
This might occur in the F8 Chain window or with some plug>ins within the plug>inFs own window. Check that the plug>inFs :et.Dry mi+ setting ?where presentB has not been set to %""J dry. (#en - p+ay bac&; - ge c+ic&s; pops; s u ers or dropou s This probably means that you are attempting to play this pro=ect at a latency too low for your system. This is more likely to happen if you use a large number of CP, hungry F8 such as &everb. Try one or more of these remediesConsider whether you can rearrange your mi+ to use fewer CP, intensive plug>ins, for e+ample by making more use of F8 busses to share F8 used by more than one track. )f you are using a high sample rate, such as 33!"" or %#N2"", try a lower one. Ho to File, Pro6ec 3e ings and reduce the Aample rate to 22%"". This will reduce the load on the CP, and you will probably find that you can live with any perceived difference in sound Euality. Consider increasing buffer si9e. This will increase latency, but should not be a problem when playing back. Ho to $ptions, Preferences, Audio Device. Click on (A)$ Configuration to bring up the Control Aoftware for your sound card. )ncrease buffer si9e, perhaps to %!3" samples. Check your Audio 2uffering preferences, especially for F4 processing$'u+ iprocessing. ;e prepared to e+periment with &ender ahead si9e and with which options are allowed. This can arise as a result of routing problems, for e+ample when you have any track or tracks routed to the aster by several different routes at the same time. Check the &outing atri+ This could be caused by a routing problem, or by some F8 or combination of F8 which might be distorting your sound. Check the &outing atri+ to see if any track or tracks is.are being directly routed to the same audio hardware output as the aster. )f this isnFt the cause of the problem G Disable all F8 to see if this fi+es the problem. )f it does, reintroduce the F8 gradually until you can identify which is causing the problem. This can be a routing, sound card or setup issue D see previous page. )n addition it may be caused by a )D) specific issue. This occurs when the track has not been assigned to a valid )D) $utput device or software synthesi9er. )f you are using a )D) Kardware device, display the trackFs &outing :indow and make sure it is assigned to a )D) Kardware Device. )f you are not using a )D) Kardware device, display the F8 :indow for the track, and insert a software synthesi9er of your choice ?usually D8i or OATiB. The problem here could lie either with your &'(P'& settings or with your hardware set up. ake sure the track is armed for recording. ake sure that the track has been assigned an input.

(#en - p+ay bac&; #e 0as er c+ips in o #e red and dis or s; even #oug# #e rac& +eve+FsG appear Jui e +o% (#en - p+ay bac&; #e audio sounds c+ipped; even #oug# i doesnN appear o be visib+y c+ipping any%#ere

(#en - ry o p+ay an i'por ed 0-D- rac&; i is si+en

(#en - ry o record audio; no #ing is recorded

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!3 E *roub+es#oo ing REAPER

-npu Ou pu -ssues
Prob+e' Diagnosis and Possib+e 3o+u ion
Check ?$ptions, Preferences, (udio DeviceB that your range of audio inputs has been defined and enabled. ake sure under the $ptions menu that you have the correct reEuired &ecord ode set ?usually this should be <ormalB. Check that &ecord )nput is enabled. $r, if you have selected &ecord $utput, check the F8 window for any F8 that could be silencing the trackFs output. ake sure that the microphone or lead for the instrument being recorded is connected to the correct audio input. )f the microphone reEuires phantom power, make sure that the phantom power supply is enabled. Check your audio input mi+er ?e+ternal hardware desk, sound card mi+er software, or bothB to make sure that the incoming signal is correctly routed. Check your audio input mi+er ?e+ternal hardware desk, sound card mi+er software, or bothB to make sure that the incoming signal is not muted. - donN #ave enoug# 5PU o p+ay bac& 'y pro6ec (lmost certainly, this is because you are trying to use more F8 than your D(: can handle. ,se the Performance eter to determine which tracks are using the most CP, hungry F8. Then right click over the media items for those tracks and either App+y F4 o i e's as ne% a&e or App+y F4 o i e's as ne% a&e F0onoG.

!3.!

REAPER -n erface -ssues

-n erface -ssues
Prob+e'
(#en - press 3pace For so'e o #er *ranspor 5on ro+G; no #ing #appens

Diagnosis and Possib+e 3o+u ion

This happens when focus is with another window, such as the &outing atri+, or an open Dialog ;o+. Two possible solutions areHive focus to another view such as the Track Oiew or i+er before pressing the key, or ,se an e+ternal )D) control device such as a ;C&!""" and assign transport functions to its various buttons. These will then work regardless of which window has focus, or whether a dialog bo+ is open. Anapping may be enabled. )f so, use the $ptions, 'nable Anapping command to disable it. Anapping may be enabled. )f so, use the $ptions, 'nable Anapping command to disable it.

(#en - ry o p+ace #e edi cursor e1ac +y %#ere - %an i ; i 'oves a +i +e (#en - ry o 'a&e a i'e se+ec ion; #e s ar and end poin s 'ove fro' %#ere - %an #e'. - add a Vo+u'e or Pan enve+ope o a rac&; bu %#en - p+ay bac&

ake sure that (utomation armed.

ode is set to &ead and the envelope is

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Up and Running: A REAPER User Guide v 4.30

-n erface -ssues
Prob+e'
#e fader does no 'ove. - record 'u+ ip+e a&es on a rac&; bu on+y #e +as one is visib+e. To view all takes for a track, choose the $ptions, Ahow (ll Takes in Manes Command, or To view a take other than the last take, right click over the media item and choose the Take command from the conte+t menu. Check your Oertical Room ;ehavior settings under $ptions, Preferences, 'diting ;ehavior. Iou probably want to set this to Mast Aelected Track. Check your Kori9ontal Room ;ehavior settings under $ptions, Preferences, 'diting ;ehavior. Iou probably want to set this to 'dit Cursor or Play Cursor. This can be tricky, and can sometimes happen because of changes made to your :indows display settings. There are two main ways to fi+ this. ,se :indows <otepad to edit the reaper.ini file in the folder C-UDocuments and AettingsU,ser <ameU(pplications DataU&'(P'&. This should only be attempted if you are confident that you understand what you are doing. For e+ample, if the ;ig Clock has been lost, delete only that section of the reaper.ini file, save it, close it, then restart &'(P'&. For e+ample, in the reaper.ini file e+tract shown here, the ;ig Clock section is shown as italici9ed[flac encoder defaults\ defaultLsi9e0%! default0N1N%NCNN%""""""""P""""""(; [bigclock\ wndLvis0% wndLleft0QN# wndLtop0N"" wndLwidth02!N wndLheight0%1# timeLmode0" [namecache\ (nalogL)nL%LDeltaL%"%"LL%L0)n % ( safer option would be to simply rename this file as reaper.o+d or similar. This will return all preferences and options to their original default settings ne+t time you run &'(P'&. Ho to $ptions, Preferences, Heneral and disable Create ,ndo points for item.track selection.

Diagnosis and Possib+e 3o+u ion

(#en - 'a1i'i=e a rac&; #e %rong rac& is disp+ayed (#en - =oo' in #ori=on a++y; #e edi cursor disappears fro' vie% and - +ose 'y p+ace - ry o vie% a %indo%; suc# as 2ig 5+oc& or Perfor'ance 0e er; bu - canN see i on #e screen

0y Undo )is ory %indo% is c+u ered %i # every i e' and rac& se+ec ion - 'a&e

!3.3

*roub+es#oo ing Record 0odes and 0oni oring

)t can be difficult at first to understand how various permutations of &'(P'&7s record modes ?available from the $ptions menuB and monitoring options ?from a track7s arm record conte+t menuB can be used together to obtain different results. ) am indebted to /o#n 2erci& for supplying me with the information in summary form that is contained in the table below,nlock your inner &'(P'& with REAPER 4 Un+eas#ed. 1QN

!3 E *roub+es#oo ing REAPER

Record 0ode

0oni or Op ions
0oni or inpu O9 0oni or rac& 'edia %#en recording OFF 0oni or inpu F ape au o s y+eG O9 0oni or rac& 'edia %#en recording OFF

2e#aviors
:hen stopped- monitors live material only :hen playing- monitors e+isting and live material continuously :hen recording- monitors live material only Atopped- monitors live material Playing- monitors e+isting material only &ecording- monitors e+isting and live material Atopped- monitors live material Playing- monitors e+isting and live material continuously &ecording- monitors e+isting and live outside punch, only live inside punch Atopped- monitors live material Playing- monitors e+isting material, then only live in punch &ecording- monitors e+isting material, then only live in punch Atopped- monitors live material Playing- monitors e+isting and live material continuously &ecording- monitors e+isting and live outside punch, then only live material in punch Atopped- monitors live material Playing- monitors e+isting material only &ecording- monitors only e+isting material outside punch, then only live material in punch Atopped- monitors live material Playing- monitors e+isting and live material continuously &ecording- monitors e+isting and live outside and inside punch Atopped- monitors live material Playing- monitors only e+isting material &ecording- monitors e+isting material outside punch, then e+isting and live inside punch Atopped- monitors live material Playing- monitors e+isting and live material continuously &ecording- monitors e+isting and live outside punch, then records and monitors live material in selected items Atopped- monitors live material Playing- monitors e+isting material only &ecording- monitors only e+isting material outside punch, then records and monitors live material in selected items Atopped- monitors live material Playing- monitors e+isting and live material continuously &ecording- monitors e+isting and live outside punch, then records and monitors live material in selected items Atopped- monitors live material Playing- monitors only e+isting material, then only live in punch &ecording- monitors e+isting selected item?sB, then records and monitors live material in selected items

9or'a+ 0oni or inpu O9 0oni or rac& 'edia %#en recording O9 0oni or inpu F ape au o s y+eG O9 0oni or rac& 'edia %#en recording O9 0oni or inpu O9 0oni or rac& 'edia %#en recording OFF 0oni or inpu F ape au o s y+eG O9 0oni or rac& 'edia %#en recording OFF 0oni or inpu O9 0oni or rac& 'edia %#en recording O9 0oni or inpu F ape au o s y+eG O9 0oni or rac& 'edia %#en recording O9 0oni or inpu O9 0oni or rac& 'edia %#en recording OFF 0oni or inpu F ape au o s y+eG O9 0oni or rac& 'edia %#en recording OFF 0oni or inpu O9 0oni or rac& 'edia %#en recording O9 0oni or inpu F ape au o s y+eG O9 0oni or rac& 'edia %#en recording O9

*i'e 3e+ec ion Au o Punc#

Au o Punc# 3e+ec ed - e's

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Up and Running: A REAPER User Guide v 4.30

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-nde1 -nde1
A
Action List.....................................323 Action List Editor...........................242 Actions...........................................241 actions, meta actions.......................254 Add FX...................................100, 379 Add FX chain.................................379 Add FX Chain..................................41 Add Track.........................................55 Ad !stin" Track #ei"ht....................3$ Ad%anced &isk '() )*tions...........354 a""re"ate de%ice +), X-..................23 A'FF.................................................32 A.iasin"............................................23 a..o/ 0eed1ack.................................33 am*.i0ier sim!.ator.........................220 an"!a"e *acks..................................22 Antici*ati%e FX *rocessin"............104 a**earance *re0erences...................35$ A**.ication &ata &irector3..............27 A**.3 FX to items as ne/ take.......374 A**.3 track FX to items.................144 A,') Con0i"!ration.................22, 352 A,') dri%ers..................................352 A,') 4ositionin" 4rotoco..............329 A,')4ALL......................................$0 A,')4ALL +5indo/s-....................22 Attach &ocker..................................50 Attack.............................................273 a!dio 1!00erin"...............................354 A!dio C& 'ma"e............................341 a!dio C&, 1!rnin"..........................343 a!dio C&, im*ortin" 0rom................74 a!dio c.icks and *o*s.....................351 A!dio de%ice....................................22 A!dio &e%ice....................22, 351, 352 A!dio &e%ice, ena1.in"..................395 a!dio dro*o!ts................................351 A!dio &!ckin"...............................293 a!dio 0ormat, con%ertin"..................20 A!dio #ard/are )!t*!ts..................42 A!dio #ard/are ,et!*...................393 A!dio in*!ts.....................................22 A!dio )!t*!t....................................33 A!dio o!t*!ts...................................22 a!dio *re0erences............................353 A!dio 4re0erences............................24 A!dio 4ro1.ems..............................393 A!dio set!*......................................22 a!dio stream...................................352 A!dio ,3stem...................................22 a!to *!nch........................................$1 a!to *!nch recordin"........................$$ a!to6sa%e........................................349 a!tocross0ade mo!se modi0iers.......129 A!tomatic record arm.......................57 A!tomatin" A!tomation.................323 A!tomatin" FX 4arameters on the F.3 ...................................................322 A!tomation.............................331, 332 a!tomation en%e.o*es.....................305 a!tomation .anes, hidin".................313 A!tomation Latch...........................310 A!tomation 7ethods......................305 A!tomation 7odes.................302, 309 A!tomation 8ead....................307, 310 A!tomation 5rite...................307, 310 a!tomation, hard/are o!t*!t sends 322 A!tomation, 7!te(9nm!te.............309 A!tomation, Trim(8ead..................310 A!tomation, /ritin".......................307 a!tosa%e...........................................53 A!:i.iar3 'n*!t...............................292 c.i**in"..........................................394 C.ose FX /indo/...........................320 co.or, c!stomi<in"..........................190 co.or, set tracks to c!stom................24 co.or, set tracks to random................24 co.ors, order o0 *recedence.............145 co.o!r themes...................................24 Commands.......................................19 com* mana"ement..........................375 com* sets, reca..in"........................141 com* sets, sa%in"............................141 Com*ressed Fi.e ,!**ort.................12 Com*ression...................................272 com*ression, d3namic....................331 com*ressor, di"ita. dr!ms...............220 con0i"!ration, e:*ort......................342 con0i"!ration, im*ort......................342 Conso.idatin" a *ro ect...................332 Conte:t 7en!s.................................19 contin!o!s scro.........................31, 355 contro. chan"e messa"es................211 Contro. Channe. Editin".................212 contro. s!r0ace................................203 Contro. ,!r0ace, insta..in"................25 contro. s!r0ace, settin" !*...............252 contro. s!r0ace, !sin".....................252 Contro..ed ;.eed............................225 Contro.s............................................19 Co*3 a.. FX....................................320 Co*3 'tems.....................................113 Co*3 .oo* o0 se.ected area o0 items ...........................................373, 374 Co*3 se.ected area o0 se.ected items ...........................................373, 374 Co*3 se.ected en%e.o*e *oints........377 Co*3 se.ected FX...........................320 Co*3 se.ected items........................374 co*3in" en%e.o*es /ith media items ...................................................315 C49 !sa"e......................................352 create ne/ *ro ect.............................29 Create ,!1director3 0or 4ro ect........54 Creatin" tracks.................................55 Cro* *ro ect to se.ection.................373 Cro* 4ro ect to ,e.ection................129 Cross0ade Editor +see Cha*ter $-...140 cross0ade actions............................129 cross0ade editin".............................127 Cross0ade Editor.............................127 cross0ade !ti.it3..............................300 Cross0ades........................................$2 c!rsor 1eha%io!r.............................3$0 c!stom actions, creatin".................249 c!stom actions, !sin".....................251 c!stom co.ors.................................352 C!stom ,*.ash ,creen....................3$2 c!stom too.1ar, dock(!ndock..........2$3 C!stomi<ations.................................12 C!t 'tems........................................113

;
1ack!*....................................349, 3$2 1ack!*, a!tomatic............................53 ;ass................................................2$$ 1atch 0i.e con%erter.........................337 1atch renderin"...............................342 1eat correction................................157 1eat detection.................................157 ;i" C.ock.........................................35 1!00er si<e.......................................351 1!00er si<e, increasin".....................394 1!00ers............................................351 ;!rn A!dio C&..............................345 ;!rn A!dio C& 'ma"e....................345 1!rn to C&......................................341 ;!s...................................................42 ;!s track..........................................22 ;!s, creatin".....................................43 ;3*ass an FX...................................40

C
CC Lane.........................................213 CC .ane, conte:t men!...................214 CC .ane, mar=!ee se.ection............214 CC .anes, resi<in"...........................214 C& A!dio.......................................340 C& a!dio, im*ortin" 0rom................74 C& 1!rnin".....................................341 C& ;!rnin"......................................12 C& 'ma"e.......................................341 Center Trans*ort Contro.s..............379 Channe. 7i:er................................297 channe. ro!tin" *.!"6ins.................299 channe. s*.ittin".....................125, 22$ Channe. ,*.ittin"....................1$4, 290 channe. s/itchin" !ti.it3.................299 channe.s..........................................291 chor!s.............................................220 chromatic 7'&' item, creatin".......1$1 chromatic midi, !sin".....................1$1 C.ean C!rrent 4ro ect &irector3.....3$2 C.ear en%e.o*e................................372 C.ick ,o!rce, insertin"...................323 c.icks, *o*s, st!tters.......................394

1QQ

Up and Running: A REAPER User Guide v 4.30

C!t se.ected en%e.o*e *oints..........377 C!t se.ected FX..............................320 En%e.o*es 5indo/.................305, 30$ En%e.o*es, ad !stin".......................311 en%e.o*es, 13*ass mode.................310 en%e.o*es, co*3in" /ith media items ...................................................315 en%e.o*es, .ockin"..........................324 En%e.o*es, .ockin".........................129 en%e.o*es, *er media item..............322 en%e.o*es, *er take.........................322 en%e.o*es, sends.............................30$ en%e.o*es, /ith FX *arameters.......320 E?..................................................2$$ e=!a.isation....................................2$$ E:citer............................................272 e:*ander.........................................222 E:*ort Li%e )!t*!t to &isk............345 e:*ort to 7'&' 0i.e.........................234 E:*ort Tracks.................................332 E:*ortin"........................................332 e:terna. de%ice, s3ncin" to.............329 e:terna. dri%e, insta..in" 8EA4E8...22 E:terna. Editor...............................111 E:terna. FX, recordin" /ith.............7$ FX ;!s.............................................42 FX 13*ass.........................................40 FX ;3*ass........................................41 FX chain, create de0a!.t....................41 FX Chains, 1ack!*.........................109 FX Chains, restore..........................109 FX contro.s.....................................202 FX contro.s, addin" to 7i:er.........174 FX co*3............................................40 FX co*3in".....................................101 FX &e%ice, e:terna...........................7$ FX distortion..................................220 FX 0.an"er......................................220 FX @ro!*s........................................99 FX 'nstance, renamin"...................102 FX mo%e...........................................40 FX name, chan"in" de0a!.t.............102 FX *arameters, a!tomatin".....320, 321 FX *arameters, a!tomatin" on the 0.3 ...................................................322 FX 4er0ormance 7onitorin"............44 FX *er0ormance, o*timi<in"...........104 FX *haser.......................................220 FX *.!"6in *arameter contro.s........2$$ FX 4.!"6in ,ettin"s..........................41 FX *resets.................................39, 2$9 FX *resets, creatin"........................2$9 FX *resets, e:*ortin".....................2$9 FX *resets, im*ortin".....................2$9 FX *resets, !sin"............................2$9 FX *rocessin".................................354 FX 4rocessin" 4.!"6ins....................12 FX 8emo%e......................................40 FX ,a%e Chain.................................41 FX ,a%e Chain as de0a!.t.................41 FX /ah...........................................220 FX /et(dr3 mi:................................40 FX 5indo/....................................393 FX /indo/ o*en............................101 FX, chan"in" name........................102 FX, de0a!.t settin"s........................102 FX, 0i.terin"....................................100 FX, *ara..e. *rocessin"...................297 FX, *er item...................................102 FX, rename instance.......................102 FX, to"".e 13*ass.............................44

&
&C o00set remo%a...........................222 de0a!.t settin"s, restorin"................370 &e.a3......................................2$7, 2$2 &e.a3 Chor!s..................................222 &e.ete en%e.o*e *oint.....................377 &e.ete en%e.o*e *oints in .oo* se.ection.....................................377 &e.ete 'tems...................................114 &e.ete se.ected en%e.o*e *oints......377 de.eted items, remo%in"..................3$2 &eskto* 'con....................................12 &etector 'n*!t................................292 &i"ita. &r!ms Com*ressor.............220 dither..............................................340 &ock FX /indo/ in docker............320 &ock trans*ort in 7ain 5indo/....379 &ocker..............................................50 &ocker, detachin".............................50 dockers, m!.ti*.e............................204 &ockin"............................................50 do/n.oad 8EA4E8..........................17 dro*o!ts..........................................394 dr!m se=!encer..............................23$ d!ckin"...........................................293 &!ckin"..........................................291 d!ckin", do!1.e d!ckin"................293 &!*.icate se.ected tracks................371 &>& A!dio ,o!ndtrack.................340 d3namic com*ression.....................331 &3namic s*.it.........................152, 159 &3namic ,*.ittin"..........................137

F
0ade actions....................................129 Fade 'n............................................119 0ade mo!se modi0iers.....................129 Fades, ad !stin"..............................12$ 0ades, d!ration..................................$2 FFT................................................272 Fi.e Locations...................................2$ 0i.e mana"ement.............................3$2 Fi.e, ;ack!*.....................................30 Fi.e, 4ro ect......................................30 Fi.e, 8ea*er 4eaks............................30 Fi.e, 8ender....................................344 Fi.e, 9ndo #istor3............................30 Fi.terin" Track FX..........................100 0inished son", renderin".................341 FLAC...............................................32 F.an"in".........................................220 F.oatin"............................................50 0.oatin" too.1ar, dock(!ndock.........2$3 0.oatin" /indo/s..............................51 0o.der contro.s..................................29 0o.der dra" and dro*.........................90 0o.der mana"ement...........................90 0o.der, creatin".................................29 0o.der, ret!rnin" to track stat!s.........90 0o.ders, nested..................................91 Frame 8ate.......................................32 0ree item *ositionin".......................134 Free 'tem 4ositionin".......................$5 Free<e =!anti<ation........................227 0ree<e tracks....................105, 10$, 19$ 0ree<e, on6.ine FX on.3...................107 0ree<e, se.ected FX.........................107 0re=!enc3 1ands.............................2$$ 0re=!enc3 s*ectr!m........................2$$ FX Add.............................................39 FX ;a3...........................................194

E
Editin" ;eha%ior 4re0erences.........3$0 Editin" 'tems..................................111 Editin" settin"s...............................112 editin", trim content 1ehind media item............................................117 Em1ed *ro ect tem*o......................332 Em*t3 E%ents...................................$5 Em*t3 'tem.......................................$$ Em*t3 7'&' item, creatin"............202 Ena1.in" *.!"6ins.............................25 en%e.o*e 1!tton......................30$, 302 En%e.o*e de0a!.t *oint sha*e..........31$ en%e.o*e editin" o*tions.................3$1 en%e.o*e .anes................................305 en%e.o*e *ane.................................310 en%e.o*e *oint, mo%e.....................312 en%e.o*e *oints, se.ect m!.ti*.e......312 En%e.o*e ,ettin"s...........................357 En%e.o*e ,ha*es............................317 en%e.o*e, m!te...............................309 en%e.o*e, *.a3 s*eed.......................324 en%e.o*e, *oint sha*es....................315 en%e.o*es........................................305 En%e.o*es...............................307, 302 en%e.o*es *re0erences.....................3$1

@
@ain................................................273 ".o1a. a!tomation o%erride.............310 @.!e................................................131 @.!e se.ected item..........................147 @.!e se.ected items.................132, 374 @.!e ,e.ected 'tems........................139 @o 1ack a .itt.e.................................34 @o 0or/ard a .itt.e............................34 @o to end o0 *ro ect..........................34 "oniometer.....................................221 "rid .ines...........................................27 "rid settin"s......................................27 @rid settin"s...................................11$ "rid sna* s*acin"............................11$

2""

-nde1
@ro!*.............................................373 @ro!* contro.sA 7aster on.3.............94 @ro!* contro.sA 7aster(,.a%e...........94 @ro!* contro.sA ,.a%e on.3...............94 "ro!* mode, a!tomation.................312 "ro!*ed *arameters, a!tomation.....312 @ro!*in"........................................130 @ro!*in" 7atri:.........................93, 94 @!itar FX 4.!"6ins.........................220 'tem Channe. 7ode........................122 item co.o!rs....................................121 'tem FX, mana"in".........................103 'tem @ro!*in"................................130 'tem Cotes......................................120 'tem 4ro*erties........................119, 393 'tem 4ro*ertiesD............373, 375, 37$ item se.ection sets...........................200 'tem ,ettin"s...........373, 374, 375, 37$ 'tem Time1ase................................119 'tem %o.!me hand.e........................121 'tem %o.!me k................................121 'tem %o.!me kno1...........................121 item, indi%id!a. FX........................102 item, mo%e......................................114 item, n!d"e.....................................114 item, s.ide.......................................114 'tems, .ockin".................................129 Linear Time Code...........................329 Linear(.on"it!dina. time code.........390 Link track %o.!me(*an to 7'&'22, 207 Li%e )!t*!t....................................345 Load de0a!.t track chain.................320 Lock ,ettin"s..................................129 Lockin"..........................................129 Lockin" 'tems.................................129 Lockin" media items......................122 Lockin" track contro.s....................122 Loo* o%erd!11in"......................$1, $2 .oo* *oints......................................115 .oo* *oints, .ink to time se.ection...115 .oo* se.ection...................................$1 .oo* se.ection ski**in".....................34 Loo* ,e.ection, .ockin"..................129 Loo* ,e.ection, mana"in"................4$ .oo* se.ection, modi03in".................4$ Loo*, creatin"................................147 Loo*ed *oints .inked to time se.ection .....................................................4$ .oo*ed time se.ection recordin". .$1, $2 Loo*in"..........................................147 Loo*s...............................................45 .o/ *ass 0i.ter.................................222 LTC........................................329, 390

#
hard/are o!t*!ts, s*eci03in"..........124 harmonies, creatin"........................1$4 #ead*hone 1.eed............................225 head*hone mi:.................................$0 head*hone mi:, creatin"...................2$ #ead*hone 7onitorin".....................25 #ea. ,*.it 'tems..............................113 #ide Trans*ort................................379 hi"h *ass 0i.ter................................222 #i"h 8an"e....................................2$7 hiss remo%a....................................275 #o.d...............................................273 #ori<onta. ,cro................................37 #ori<onta. Boom..............................37 #T7L Lists +a!to6"enerated-.........241 #!mani<e notes..............................212 #!mani<e Cotes.............................222

E
Ees!sonic FX....................................32 o3stick 7'&' de%ice, insta..in".......25 E!m* To............................................47 E!m* to 7arker......................372, 379

F
ke31oard assi"nment, chan"in"......24$ ke31oard shortc!t, assi"nin" m!.ti*.e actions........................................249 ke31oard shortc!t, chan"in"...........24$ ke31oard shortc!t, creatin".............245 ke31oard shortc!t, remo%in"..........24$ ke31oard shortc!ts..................197, 247 Fe31oard ,hortc!ts..........................19 ke31oard shortc!ts, assi"nin" to a contro. s!r0ace............................252 Fe31oard ,hortc!ts, c!stomi<in"...241 ke31oard shortc!ts, e:*ortin".........249 ke31oard shortc!ts, 0or media e:*.orer ...................................................242 ke31oard shortc!ts, 0or 7'&' editor ...................................................242 ke31oard shortc!ts, 0or recordin"...247 ke31oard shortc!ts, im*ortin"........249 ke31oard shortc!ts, sections...........247 ke31oard shortc!ts, sho/ .ist............52 Fe31oard, >irt!a..............................$7 ke3ma* sets, e:*ortin"...................249 ke3ma* sets, im*ortin"...................249

7
macro, creatin"...............................249 7ain 'n*!t......................................292 7ain 7en!.................................19, 20 7ain 5indo/...................................21 7ana"in" Tracks..............................21 marker, co.orin".............................142 7arker, insertin"............................142 7arker, namin"..............................142 marker, sna* to...............................149 7arkers..........................................142 markers, co*3in"............................153 7arkers, .ockin"............................129 7arkers, na%i"atin"........................142 markers, remo%in"..........................150 mar=!ee modi0ier ke3s...................114 7aster............................................394 7A,TE8 o!t*!t 1!s........................21 7aster 4arent ,end...........................42 7aster Track..................................124 7aster, dis*.a3 in Track >ie/..........21 7eas!res..........................................4$ meas!res, creatin" 0rom time se.ection ...................................................157 media c!es......................................153 media c!es, con%ertin" to markers. 154 media c!es, creatin" 0rom markers. 153 7edia E:*.orer...................12, 70, 343 media e:*.orer data1ase...................72 media e:*.orer, 0i.ter........................71 media e:*.orer, time se.ection..........71 7edia Fi.e, insertin"........................70 7edia 0o.ders shortc!ts .ist..............71 media item 1!ttons.........................357 media item .a1e.s............................357

'
'() ;!tton........................................42 ima"e 0i.e.......................................341 im*ort a!dio 0rom C&......................74 im*ort *re0erences............................73 im*ortin" a *ro ect 0i.e.....................59 'm*ortin" 7edia...............................70 im*ortin" 7'&' 0i.e..........................74 'n6Line 7'&' Editin".....................232 indi%id!a. items, .ockin"................122 'n*!t A.iasin"...................................23 in*!t assi"nment...............................55 in*!t monitorin".............................351 'n*!t 7onitorin"..................$0, $$, 7$ 'n*!t ?!anti<e................................222 'n*!t, A!:i..iar3.............................292 'n*!t, 7ain.....................................292 in*!ts, se=!entia...............................57 'nsert em*t3 s*ace at se.ection.......373 'nsert marker D.............................372 insert m!.ti*.e tracks........................5$ 'nsert note.......................................222 'nsert time si"nat!re markerD.......372 'nsert track.....................................371 'nsertin" Track FX...........................32 'nsta.. &irector3...............................27 insta.. 8EA4E8 ), X......................17 'nsta.. 8EA4E8 to 9,; ke3 19, 29, 30 insta.. 8EA4E8, 5indo/s...............17 'nsta..ed Fo.ders...............................2$ 'nter0ace 'ss!es...............................395 internet a!dio, recordin"...................79 'n%ert se.ected *oints......................377

L
.ameGenc.d.....................................339 Lanes................................................$3 .anes, a!tomation............................305 Latch..............................................310 .atenc3......................$0, 351, 354, 394 La3ered 8ecordin"...........................$0 La3o!ts...........................................201 La3o!ts. 7i:er...............................201 La3o!ts. Track................................201 .imiter.............................................222 Limiter...........................................2$2

2"%

Up and Running: A REAPER User Guide v 4.30

7edia 'tem 4ro*erties....................135 7edia item settin"s........................3$5 media item, s.i* editin"..................12$ media items, co.o!rs.......................121 media items, de0a!.t settin"s..........351 media *eak cache settin"s..............3$5 7edia *re0erence settin"s...............3$5 media *re0erences...........................3$5 media, insert in *ro ect...................320 media, !se as so!rce.......................320 men!s, c!stomi<in"........................252 7en!s, c!stomi<in"................241, 252 men!s, e:*ortin"............................259 men!s, im*ortin"............................259 meta actions....................................254 7eta actions...................................254 7etronome.......................................57 7etronome Ena1.ed.........................57 metronome o!t*!t............................57 7etronome ,ettin"s.........................57 7etronome, a!tomatin".................323 7id 8an"e......................................2$7 7'&'.................................................... 7'&' sends and recei%es................207 7'&' ,et!*......................................24 7'&' so!rce data *oo.....................234 7'&' time code..............................390 7'&' Time Code............................329 7'&' to!ch6re*.ace..........................$2 7'&' track not *.a3in"...................394 7'&'G8o!ter..................................23$ midiGtrans*ose...............................23$ 7'&'G>e.oci0ier.............................23$ 7'&', e:*ort to 0i.e........................235 7'&', 'nsert Cote...........................212 7in!tes............................................4$ 7i:er..............................................171 7i:er A**earance..........................121 7i:er Co.o!r Themes.....................121 mi:er .a3o!t o*tions.......................171 mi:er .a3o!ts..................................172 7i:er .a3o!ts.................................171 7i:er *re0erences...........................121 mi:er, hidin" tracks........................173 mi:er, mana"in" FX.......................173 mi:er, mana"in" sends...................17$ mi:er, on6screen ad !stments.........177 7i:in" &o/n.................................337 7onitor e:terna. s3nth...................207 7onitor 'n*!t...................................75 7onitor 'n*!t D............................37$ 7onitor 'n*!t +Ta*e A!to ,t3.e-......$0 7onitor track media /hen recordin"$1 monitorin" o*tions.........................39$ 7onke3Hs A!dio.............................332 mo!se 1eha%ior *re0erences...........3$3 mo!se modi0ier settin"s, sa%e(restore ...................................................257 mo!se modi0iers52, 24, 114, 129, 132, 135, 13$, 172, 202, 231, 241, 255, 312 mo!se modi0iers, chan"in"...127, 255, 312 7o!se 7odi0iers, c!stomi<in".......241 mo!se modi0iers, in 7'&' editor....257 mo!se modi0iers, sho/ .ist...............52 7o!se, c!stomi<in" 1eha%ior.........3$3 7o!se/hee......................................37 mo!se/hee. assi"nments................249 7o%e a.. media into *ro ect director3 .....................................................54 743............................................12, 32 743 0ormat............................332, 341 7TC...............................................390 7!.ti1and Com*ression.................27$ m!.tichanne. 0ormat.......................341 m!.tichanne. meterin", to"".e........301 m!.tichanne. recordin"...............52, 59 m!.tichanne. tracks..........................59 m!.tichanne. >9 meters.............59, 97 m!.ti*.e a!dio o!t*!ts......................23 m!.ti*.e channe.s............................22$ 7!.ti*.e 'tem 4ro*erties.................1$7 m!.ti*.e notes, editin"....................223 m!.ti*.e o!t*!t >,Ti........................$9 m!.ti*.e *ro ect %ersions.........20$, 349 7!.ti*.e Takes....................$2, $4, 139 m!.ti*.e tracks, insertin"..................5$ m!.titaskin"....................................352 7!te.................................................35 7!te a!tomation en%e.o*e, creatin" ...................................................309 7!te Contro.s..................................22 7!te 'tem.......................................119 7!te notes......................................222 m!te track, to"".e.............................44

C
Camin" tracks..................................55 Ca%i"ation........................................3$ Ca%i"ator..........................................32 Ce/ 7'&' item, creatin"...............202 Ce/ 4ro ect......................................53 C'CEA7........................................392 Coise @ate......................................273 noise red!ction...............................275 noise sha*in"..................................340 non6destr!cti%e editin"...................112 non6standard stereo channe.s............50 Corma. 8ecord 7ode.......................55 Cote Channe...................................222 Cote Cames....................................220 Cote 4ro*erties.......................222, 223 note st3.es.......................................22$ Cote*ad............................................22 n!d"e item......................................114 C!d"e(set items..............................112

e%ent *ro*erties.......................123 Tem*o 7a*.............................324 E%ent List >ie/......................224 Camed Cotes >ie/.................224 4iano 8o.. >ie/......................224
7'&' Actions.................................232 7'&' 1!ses.....................................235 7'&' data, e:*ortin"......................234 7'&' &e%ice, insta..in"....................24 7'&' &e%ices.............................24, 70 7'&' editin", in6.ine......................207 7'&' Editor............................202, 217

)
)@@ >or1is......................................32 )*acit3.............................................50 )*en 0i.e, FX set o00 .ine..................42 )*en items D................................374 )*en 'tems /ith Editor...................111 )*en 4ro ect.....................................31 )*tions men!.................................370 ),C +)*en ,o!nd Contro.-............252 )!t*!t A...........................................25 )!t*!t A.iasin"................................23 )!t*!t, recordin".............................75 )%erd!11in".....................................$1 o<<i0ier...........................................221

CC Lane.................................213
7'&' Editor 7odes........................224 7'&' Editor /indo/......................207 7'&' Editor, Actions......................232 7'&' Editor, creatin" notes............221 7'&' Fi.es, im*ortin"......................74 7'&' 0i.ters....................................209 7'&' #ard/are &e%ice..................394 7'&' #ard/are )!t*!t....................42 7'&' in*!t de%ice............................$$ 7'&' in*!t /ith se=!entia. channe.s$2 7'&' 'tem........................................$7 7'&' item, creatin"........................202 7'&' items, smart editin"..............21$ 7'&' items, time se.ection.............21$ 7'&' ke3 ma**in".........................23$ 7'&' .atch6re*.ace...........................$2 7'&' .oo* recordin"......................35$ 7'&' octa%e name dis*.a3 o00set....23$ 7'&' )!t*!t de%ice, time o00set......25 7'&' o%erd!1..................................$2 7'&' *.!"6ins................................23$ 7'&' *re0erences...................232, 3$$ 7'&' 8ecordin"...............................$$ 7'&' re*.ace....................................$2 7'&' ro!tin"..................................235 7'&' scr!1.....................................224

4
4an contro.s......................................35 *an .a/.......................................33, 3$ *an mode..........................................3$ *an modes......................................123 *an track, 7'&'................................35 *anic 1!tton....................................222 *ara..e. FX *rocessin"............297, 299 *arameter "ro!*in"..........................92 4arameter mod!.ation.....................325 *arameter mod!.ation, .inkin" *arameters..................................332 4aste FX.........................................320 4aste 'tems.....................................113

2"!

-nde1
*attern se=!encer............................23$ *eak .e%e.s, reset on >9 meters......12$ *eak .imiter....................................220 *eaks(/a%e0orms *re0erences.........352 *enci. mode....................................132 *er0ormance meter..........................3$9 4er0ormance 7eter...................44, 352 *hantom *o/er...............................395 4hase ad !stin" ro!ter....................220 4hase Ad !stin" 8o!ter..................300 *hase contro.....................................35 4hase Contro....................................3$ 4hase in%erter.................................220 4iano 8o.................................220, 227 *in connector..........................22$, 290 *itch chan"e *.!"6in.......................222 *itch correction...............................1$$ 4itch Correction.............................1$$ *itch correction, a!tomatic.............1$$ *itch correction, man!a..................1$$ *itch en%e.o*e................................1$3 *itch mani*!.ation..........................1$4 *itch shi0t.......................................1$3 *itch shi0t *.!"6ins..........................1$3 *itch shi0t, 7'&' contro..ed............237 *itch shi0tin"..................................1$4 4itch ,hi0tin"..................................290 4itch, chan"in"...............................1$3 *itch, *reser%e in a!dio items.........1$2 4.a3..................................................34 *.a3 c!rsor, mana"in"......................52 *.a3 .oo* se.ection............................47 4.a3 rate..................................372, 379 *.a3 rate, ad !stin" 0or *ro ect........1$2 4.a3 ,*eed en%e.o*e.......................324 4.a3 ,*eed, a!tomation..................324 *.a31ack *re0erences......................355 4.a31ack 8ate, m!.ti*.e items........1$7 4.a31ack 8ate, sin".e item.............1$7 *.!"6in de.a3 com*ensation............105 4.!"6in Essentia.s...........................2$5 *.!"6in *resets, 1ack!*...................109 *.!"6in *resets, restore...................109 *.!"6in, co*3in".............................101 *.!"6in, noise red!ction..................275 2.4.!"6ins.........................................39 4re0erences, mo!se.........................3$3 4re0erences, *.a31ack.....................355 4re0erences, *.!"6ins......................3$7 4re0erences, 4ro ect........................349 4re0erences, 4ro ect &e0a!.ts..........3$0 4re0erences, renderin"....................35$ *re0erences, searchin"......................23 4re0erences, >9 meters..................352 4resence 8an"e..............................2$7 4reser%e 4itch.................................1$7 4reset Li1rar3.................................223 4reset 7ana"er...............................223 *reset, sa%e as de0a!.t.....................2$9 4resets............................................2$9 4re%ie/ Fe31oard..........................221 *re%ie/ media item *eaks................7$ 4re%ie/ Cotes................................219 *ro ect conso.idation......................332 4ro ect Fi.e 4ath...............................32 *ro ect 0i.es, m!.ti*.e %ersions........20$ *ro ect .en"th....................................33 *ro ect mana"ement.......................3$2 4ro ect 7edia(FX ;a3....................191 *ro ect notes.....................................33 4ro ect 4re0erences...........................53 4ro ect renderin"............................339 4ro ect ,am*.e 8ate.........................32 *ro ect settin"s...............................349 4ro ect ,ettin"s.........................32, 153 *ro ect start time, settin"................127 4ro ect Ta1s......................................52 *ro ect ta1s, m!.ti*.e........................52 4ro ect Tem*.ate.........................59, $0 4ro ect Time ;ase, chan"in"............33 *rom*t to sa%e..................................7$ 4!nch 8ecordin"..............................$1 8ea8o!te................................304, 323 8ea8o!te A,') dri%er....................323 8ea8o!te, sendin" a!dio 0rom 8EA4E8....................................325 8ea8o!te, sendin" a!dio into ,onar ...................................................327 8ea8o!te, settin" !* a**s..............324 8ea8o!te, /ith A1.eton Li%e.........324 8ea8o!te, /ith ,3nth 5orkstations ...................................................322 8ea,am*.omatic.............................294 8ea,cri*t........................................392 8ea,!rro!nd...........................302, 303 8ea,3nth..........................................$7 8eaT!ne.................................1$5, 1$$ 8ea>oice........................................237 8eaXCom*.....................................27$ 8ecei%e .e%e.s..................................43 8ecei%es.............................42, 75, 300 8ecent 4ro ects.................................31 8ecord........................................34, 5$ record additiona. items.....................$5 8ecord Arm................................55, 5$ record arm, a!tomatic.......................57 8ecord 'n*!t...........................37$, 395 8ecord mode....................................55 record modes..................................39$ 8ecord 7!.ti*.e Tracks....................5$ 8ecord )!t*!t................................395 8ecordin" 0ormat.............................32 recordin" 0ormat, settin"..................54 recordin" 0ormats, mi:ed..................72 recordin" on the 0.3..........................5$ 8ecordin" o!t*!t..............................75 8ecordin" 4re0erences......................7$ recordin" *ro1.ems.........................394 recordin" /ith a %irt!a. instr!ment...$9 recordin", de0a!.t track settin"s........77 redo, store m!.ti*.e *aths...............3$9 re"ion...............................................$1 re"ion mana"er...............................152 re"ion, co.orin"..............................151 8e"ions, creatin"............................151 8e"ions, .ockin".............................129 re"ions, renderin"...........................340 8e"istr3............................................2$ re.ati%e *athnames..........................349 8e.ease...........................................273 8emo%e a.. FX...............................320 8emo%e a.. markers 0rom .oo* se.ection.....................................372 8emo%e contents o0 se.ection.........373 8emo%e ,e.ected Fi.es...................3$2 8emo%e se.ected FX.......................320 8emo%e se.ected items...................374 8emo%e se.ected tracks..................371 8emo%e ,e.ection...........................372 8ender items..................................144 8ender m!.tichanne. tracks............341 render =!e!e...................................340 8ender se.ected tracks to stem tracks ...................................................105

?
=!anti<e..........................................152 ?!anti<e.................................212, 22$ ?!anti<e e%ents..............................22$ ?!anti<e se.ected e%ents.................227 ?!anti<e stren"th............................227 ?!anti<e track 7'&' recordin"......222

8
8atio...............................................272 8eaCom*........................................273 8eaCom* com*ressor.....................291 8ea&e.a3................................2$2, 222 8eaFir.............................................275 8ea@ate..........................................274 8ea7ote.........................................392 8ea7ote ,.a%e...........................29, 30 8ea*er Fi.e T3*es.............................30 8EA4E8 )*tions...........................370 8EA4E8 ,e.ections.........................19 8EA4E8 9ninsta.............................30 rea*er6d:*.!"6ins.ini........................27 rea*er6%st*.!"6ins.ini........................27 rea*er.ini...................................27, 39$ 8ea4itch.................................1$4, 1$5

,a%in" 4resets...........................$7
*.!"6ins *re0erences.......................3$7 4.!"6ins, ena1.in".............................25 *.!"6ins, 7'&'................................23$ *.!"6ins, *resets..............................223 *o*s and c........................................30 *o*s and c.icks...........................30, $0 4re0erences.......................................22 4re0erences, a**earance.................35$ 4re0erences, a!dio..........................353 4re0erences, editin" 1eha%ior.........3$0 4re0erences, en%e.o*es...................3$1 4re0erences, 0i.e im*ortin"...............73 4re0erences, @enera..................31, 347 4re0erences, media.........................3$5 4re0erences, 7'&'..........................3$$

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Up and Running: A REAPER User Guide v 4.30

8ender stems..................................341 render time ran"e............................340 8ender to Fi.e dia.o" 1o:...............339 8enderin"...............................171, 339 renderin" a 0inished son"................341 renderin" *re0erences.....................35$ renderin", s!rro!nd 0ormat.............34$ reset con0i"!ration to 0actor3 de0a!.ts .....................................................29 8eset se.ected en%e.o*e *oints to <ero(center..................................377 8e%erse items.................................145 8e%erse items as ne/ take..............374 re%erse media item..........................119 8e/ind to start.................................34 8e/ire......................................12, 303 8e5ire...................................23$, 303 8e5ire s.a%e mode..........................29 8e5ire, 8EA4E8 as host...............304 8e5ire, 8EA4E8 as s.a%e.............304 8e5ire(&X ...................................3$7 8EX 0i.es........................................1$2 8EX 0i.es, *re0erences....................1$2 8i**.e Editin"................................133 ro!tin"............................................295 8o!tin".....................................42, 393 8o!tin" E:am*.es..........................225 8o!tin" 'nter0ace............................300 8o!tin" 7a......................................50 8o!tin" 7atri:.................57, 300, 394 ro!tin" *ro1.ems............................394 8o!tin" 5indo/............................300 844 Fi.es..........................................12 r!m1.e or h!m remo%a...................275 ,econds............................................4$ ,eek *.a31ack /hen c.icked.............52 ,e.ect A..................................373, 320 ,e.ect a.. *oints in .oo* se.ection. . .377 ,e.ect 'tems....................................113 ,end 7aster(4arent..........................22 send t3*es.......................................229 ,end, creatin"...................................43 ,ends............................43, 42, 22, 300 ,ends de0a!.t settin"s.....................350 sends, addin" to 7i:er...................17$ ,et *oint sha*e...............................377 ,et *oint %a.!e................................377 ,et se.ection to se.ected items........372 ,et sha*e 0or a.. se.ected *oints......377 ,et Time ,i"nat!re.........................1$9 ,ho/ A.. Takes 'n Lane..................141 ,ho/ A.. Takes in Lanes............$3, $4 ,ho/ a!dio con0i"!ration on start!* 29 ,ho/ a!dio hard/are as so!rces......2$ ,ho/ ;i" C.ock...............................35 ,ho/ 7aster in track %ie/.............372 ,ho/ Ca%i"ator................................32 ,ho/ o%er.a**in" items in .anes......$4 ,ho/ *.a3 rate contro.....................379 ,ho/ *.a3 state as te:t...................379 ,ho/ ,creen ,ets...........................197 ,ho/ Trans*ort................................34 sidechain.................................222, 291 sidechainin"............................293, 325 si.ent *assa"es, remo%in"...............137 ski* time se.ection............................47 ,.i* Editin"....................................12$ smart too.s......................................2$4 smooth seek....................................355 ,74TE...................................329, 390 ,74TE timecode "enerator............390 ,na* &istance.................................11$ ,na* o00set......................................119 ,na* to @rid...................................11$ sna* to marker................................149 ,na*(@rid ,ettin"s..........................11$ so0t/are s3nthesi<er.......................394 ,o0t/are 9*dates.............................12 ,o.o..................................................35 ,o.o &e0eat.......................................22 ,o.o 'n Front....................................23 ,on" 4osition 4ointer.....................329 so!nd card......................................351 ,o!nd Card ,ettin"s.......................393 ,o!nd ,ha*in"...............................2$5 ,o!nd ,ha*in" 4.!"6ins.................2$$ ,o!rce 7edia ;a3..........................193 ,o!rce 4ro*erties...........................123 ,o!rce 4ro*ertiesD........373, 375, 37$ ,*.it E%ents............................212, 222 ,*.it 'tems......................................113 ,*.it items at c!rsor................373, 374 ,*.it items at time se.ection....373, 374 ,*.it 'tems, #ea..............................113 ,*.it notes !nder mo!se c!rsor.......222 ,*.ittin" Channe.s..........................22$ ,44.................................................329 ,44 ,end........................................390 ,tart 7en! ,hortc!ts........................12 start time, markin"..........................127 start time, settin"............................127 ,tartin" 8EA4E8.............................19 ,tem 8enderin"..............................105 ,te* ,e=!encer...............................219 stereo enhancer...............................221 ,tereo to 7ono con%ersion.............122 stereo track, recordin"......................52 ,tereo, re%ersin".............................122 ,to*..................................................34 s!1mi:, renderin"...........................10$ ,!rro!nd *anner.............................302 ,5, E:tensions.............................132 s3nc to e:terna. de%ice...................329 s3nchroni<e e:terna. de%ice to 8EA4E8....................................390 ,3nchrono!s FX m!.ti*rocessin"...104 ,3nthesi<er.......................................$7 ,3sE: messa"es.............................213 ,3stem t/eaks................................3$2

T
Take................................................373 Take command.................................$4 Take, ne:t.........................................$4 Take, *re%io!s..................................$4 takes, arran"in"..............................139 takes, co.or coded.............................$3 takes, editin"..................................139 takes, en%e.o*es..............................322 takes, e:*.ode in *.ace....................140 takes, e:*.ode to tracks...................139 Takes, E:*.ode to tracks...................$4 takes, im*.odin".....................143, 144 Takes, ,ho/in" Lanes......................$3 Takes, ,.ice and &ice.....................141 tem*.ate..........................................349 tem*.ate 0i.e......................................53 Tem*.ate, 4ro ect..............................59 Tem*.ate, Track................................59 Tem*o Chan"e...............................1$9 tem*o chan"es................................1$9 tem*o detection..............................157 Tem*o 7a* En%e.o*e.....................324 Te:t E%ents.....................................213 The 'nsta.. )*tions...........................12 the 7icroso0t @, 5a%eta1.e ,3nth...$9 Theme Editor..................................190 theme, modi03in"...........................190 Thresho.d................................272, 273 Time ;ased E00ects.........................2$7 time se.ection..................................115 time se.ection recordin"...................$1 time se.ection recordin", .oo*ed ......$2 time se.ection, in media e:*.orer......71 Time ,e.ection, ke31oard shortc!ts. .47 time se.ection, .ink to .oo* *oints...115 time se.ection, modi03in".................47 time si"nat!re chan"es...................1$9

,
sam*.e 0i.e......................................294 sam*.e rate.....................................394 ,am*.e 8ate...................................352 ,am*.es............................................4$ sam*.es, sa%in"..............................1$1 ,a%e chain as de0a!.t 0or ne/ tracks ...................................................320 ,a%e 4ro ect.....................................54 ,ca.e Finder....................................240 ,ca.e 9' E.ements..........................3$2 ,creen ,et.......................................197 ,creen ,ets.....................197, 199, 200 screen sets, a!to6sa%in" chan"es.....200 screen sets, /indo/s......................120 ,creen ,ets, 5indo/s....................199 ,creensets(La3o!ts.........................171 scri*ts.............................................251 scri*ts, im*ortin"............................251 ,cro................................................370 scro.. track %ie/...............................7$ ,cro.. 5hee......................................35 scro.., contin!o!s......................31, 355 ,cro..in"...........................................37 scr!1.........................................92, 224 scr!1 settin"s....................................92 scr!11in"..........................................34

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-nde1
Time ,i"nat!re 7arker...................1$9 time si"nat!re marker, insertin".....1$1 Time ,tretchin"..............................1$7 Time6;ased E00ects........................2$5 time1ase...........................................32 timecode, insertin".........................390 Time&i00erence 4an........................272 Time.ine...........................................45 To"".e 8e*eat...................................34 To"".e se.ected 13*ass...................320 To"".e se.ected o00.ine...................320 toni0ier............................................221 Too.1ar.............................................20 too.1ar, c!stom.........................37, 2$0 too.1ar, c!stom en%e.o*e................317 Too.1ars............................................19 too.1ars, c!stom.............................2$3 Too.1ars, c!stomi<in"....................241 too.1ars, e:*ortin"..........................2$2 too.1ars, 0.oatin"............................2$3 too.1ars, im*ortin".........................2$2 To!ch.............................................310 Track Channe.s...............................300 track co.or......................................19$ track co.or o*tions............................24 Track Contro. 7odi0iers...................22 Track Contro. 4ane...........................39 track contro. *ane. he.*..................204 Track Contro. 4ane. settin"s...........357 track contro.s............................21, 203 Track Contro.s..................................35 Track Contro.s, .ockin"..................122 Track de0a!.t settin"s.....................350 Track FX....................................32, 99 Track FX )rder................................40 Track FX *arameters........................40 Track FX, co*3in"..........................101 track "ro!*in"............................92, 93 track "ro!*in" contro.s.....................97 track inserts......................................32 Track 7ana"er........................107, 195 track *an, !sin" 0or 7'&'.................35 Track 4ane. 5idth............................3$ Track 4ane.s.....................................21 Track 4er0ormance )*tions............104 Track 8o!tin"...................................42 Track Tem*.ate, 'nsertin".................59 track tem*.ates................109, 204, 317 Track Tem*.ates...............................59 Track >ie/ screen sets...................197 Track >ie/s....................................197 track %o.!me, !sin" 0or 7'&'...........35 Track %o.!me(*an, .ink to 7'&'.......22 Track, Add Ce/ Track.....................43 Track, co*3.......................................21 Track, de.ete.....................................21 Track, mo%e......................................21 Track(,end &e0a!.ts.......................350 tracks, 0ree<e(!n0ree<e....................10$ transient detection settin"s.............157 transient, e:tend se.ection to.........157 transient, mo%e c!rsor to ne:t.........157 transients........................................15$ Transients Fi..er.............................273 Trans*ort........................................372 Trans*ort ;ar...................................34 Trans*ort ;ar, dock(!ndock.............34 Trans*ort Contro............................395 trans*ose 7'&'...............................212 treme.o...........................................220 Trim content 1ehind media items....117 Trim items to se.ected area.............374 Trim 'tems to ,e.ected Area...........134 t!ner...............................................221 t!nin" an instr!ment.......................1$5 !ti.it3 *.!"6ins................................222

>
>e.ocit3 #and.es............................220 >ertica. ,cro.....................................37 >ertica. Boom...................................37 %ideo so!ndtrack............................391 >ideo 5indo/................................391 >ideo(8EX(7isc 4re0erences.........3$$ %irt!a. instr!ment, recordin" /ith....$9 >irt!a. 7'&' Fe31oard............$$, 294 %oca., 0attenin" or do!1.in"............221 >o.!me contro.s...............................35 >o.!me Contro.s...............................22 %o.!me track, 7'&'..........................35 >,T ...............................................3$7 >,T Com*ati1i.it3.........................3$7 >,T Fo.ders...................................101 >,T *.!"6in, "eneric inter0ace.......224 >,T *.!"6ins............................25, 2$5 >,Ti *atch(1ank 0i.es.......................$7 >9 .e%e.s *.!"6in...........................221 >9 meter *re0erences.....................352 >9 meters, reset *eaks...................12$

5
5A> 0ormat...................................340 /a%e 0i.es, im*ortin"........................73 /a%esha*er.....................................222 /a%esha*in" distortion...................221 5e1 A!dio......................................341 /i.d cards +in 0i.e names-...............337 5indo/ 0.oat se.ected FX..............320 5indo/ screen sets........................197 5indo/ >ie/s...............................199 5indo/s &e%ice 7ana"er.............393 5indo/s 8e"istr3............................2$ 5indo/s ,tart 7en!........................29 5rite A!tomation...........................307

9
9A& *.!"6ins.................................104 9' T/eaks......................................3$2 9ndo...........................................51, $1 9ndo #istor3..........................349, 39$ 9ndo #istor3 5indo/......................51 9ndo #istor3, .oad /ith *ro ect 0i.e ...................................................3$9 9ndo #istor3, sa%e /ith *ro ect 0i.e 51, 3$9 9ndo stora"e area.............................51 9ndo(redo *aths, sa%e m!.ti*.e........51 !n0ree<e tracks........................107, 19$ 9ninsta.. 8EA4E8...........................29 9ninsta..in" 8ea*er..........................30 9n=!anti<e.....................................227 9nse.ect a.. *oints..........................377 9**er 7id 8an"e...........................2$7 9,; 0.ash de%ice..............................22 9se 8!.er Time 9nit......................372

X
Xenakios E:tensions......................132

B
<oom in hori<onta..3.......................39$ Boom ,e.ection...37, 4$, 130, 149, 372 Boom to Time ,e.ection...................47 Boomin"...............................3$, 37, 51

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