Reaper User Guide 321

Up and Running: A REAPER User Guide v 3.
21
by
Geoffrey Francis
Version 3.21 January 2 1
This guide will be updated regularly as the software itself is further improved and developed. Check for updates and other information at !""p:##$$$.coc%os.co&#reaper#
This document has been produced, compiled and rendered to PDF format using the wonderful 'pen 'ffice (ri"e software. For more information about 'pen 'ffice go to !""p:##$$$.openoffice.org
arch !""# to $anuary !"%"
ReaRead& '()P(' books and training manuals printed and spiral bound are now available from
http&**stores.lulu.com*store.php+f)cct,D-%.#/#0/
Up and Running: A REAPER User Guide

The essential and definitive guide to recording, editing and mi1ing with '()P('. 2ow fully updated for version ..". ,ncludes sample pro3ect files and step by step e1amples 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 e1amples of how to use and apply many of the supplied F4 plug5ins. 67p and 'unning is not only a comprehensive guide to using '()P(', it8s also full of an ama9ing amount of information on audio recording and engineering. , simply cannot recommend it enough:6 5 Jus"in Fran%e) ;C<C=<> ,nc and '()P(' Developer?.
Rea*i+: ,rea%ing "!e ,arriers $i"! REAPER

This book does much more than 3ust teaching you how to use basic tools ;such as volume, panning, (@, gates, compressors, delay, reverb etc.? to get an <= mi1. ,t also guides you thru the relationships A some simple, some comple1 A that e1ist between the dimensions of sound and the dimensions of space. ,t gives you the confidence to use this knowledge to transform your <= mi1es into great mi1es. )lthough not light on theory, it has a definite practical emphasis, with links to archives containing some /" or so pro3ect files, with step by step e1amples. These help you put your knowledge into practice. 6Bow: >o much good stuff 5 from mindbending advanced techniCues to solid sensible advice, this guide should have a positive effect on 3ust about anybody interested in mi1ing ;and especially those using '()P('?:6 5 Jus"in Fran%e), Cockos ,nc, developer of '()P('.
And fro& A&a-on.co& .

http&**www.ama9on.com*'()P('5Power5Comprehensive5Deoffrey5 Francis*dp*%EF0G.0#F.*ref-srH%H%%+ie-7TF0Is-booksICid-%!/0".FFF%Isr-%5%%
REAPER Po$er
Takes you beyond the 7ser Duide ;which focuses mostly on how to do things? and places more of an emphasis on the when and the why. ,t8s also designed to help you understand how '()P('8s various components, tools, bits and pieces work together. The book is comprehensive and includes a CD with more than %"" pro3ect files which demonstrate the various features of '()P(' in action. ,t also contains sample custom actions, F4 chains, track templates, and much more. ,f you8re an e1perienced user of another product ;perhaps Cubase, >onar or Pro Tools? and are making the 3ump to '()P(' then this book should give help fast5tracking you into '()P('8s design philosophy and ways of working, which often are significantly different from what you8re used to.
Fore$ord and Ac%no$)edge&en"s

'()P(' isnJt 3ust about software, and it isnJt 3ust about making music. ,tJs about a whole lot more. '()P(' is a whole community. ,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 K. in fact, the way the world should be. ,tJs about collaboration and co5operation, and it is truly awesome. ,f youJve already laboured or suffered at the hands of some software companies, youJll know e1actly what ,Jm talking about. ,f you havenJt been there, then, believe me, you donJt want to. This 7ser Duide could not have been produced without the help of many of the fine people in the '()P(' community. ,f , try to mention everybody, ,Jll be sure to miss some out, so ,Jll 3ust mention those whose assistance has been absolutely invaluable& *a)co)& Jacobson for his efforts in getting together the first '()P(' manual. Ar" Evans for his technical advice and constructive input. *ario ,ianc!i ;aka *abian? for his invaluable help with document formatting and layout. ,evan Fo$%e ;aka ,evosss? for his advice and assistance with custom actions and macros. Jason ,rian *erri)) and others for their work on '()P('Js B,=,. /raig Ric!ardson and 0i&on *u))ings for their helpful suggestions and the patient hours spent on the tedious 3ob of proof5reading. Pipe)ine Audio for those great video tutorials. (!i"e 1ie for awesome graphics. 2ena%ios and 0(0 for their e1tension sets. )nd, of course K Jus"in, /!ris"op!e and 0c!$a, for bringing us '()P(' >o welcome to '()P(': This 7ser Duide 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, youJll find that there is more than enough information in here to get you Lup and runningM. NouJll probably find that some sections contain information that youJll find difficult to understand and which you might not need at first. Nou can 3ust skip over those sections and come back to them when youJre ready. ,f, like me, you have come to '()P(' with e1perience of other D)B software, youJll 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. NouJll find yourself asking, LBhy canJt they all be like this+M Nou should also find plenty more to interest you. ,t is not intended to be ;and nor will it ever be? a %""O reference manual covering every single aspect and detail of '()P('. ,Jve tried to approach the topics in what seems a fairly sensible order, introducing items pretty much on a Lneed to knowM basis. ,n doing so, ,Jve 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. ,n this version . update, , have flagged ma3or new topics with the word 3e$4 in the section header and the Table of Contents. ,n the case of Chapters %!, %/ and %F, these are so different from earlier versions as to be able to be regarded as virtually new sections entirely. ,n addition to these changes, there are numerous other smaller changes and new features that are 3ust too many to flag. Finally, ,Jd like to make it clear that ;apart from the e1tract from the C<C=<> Beb >ite? any views or opinions e1pressed here or anywhere else are entirely my own, and have not been endorsed by C<C=<> software or any other person or body associated with '()P(' , hope that you get as much from '()P(' as , have, and that this 7ser Duide is more than a little help to you along the way. c5 Deoffrey Francis, 2ovember !""F
REAPER (eb Resources

The '()P(' pro3ect is a live, dynamic and ongoing one. Pe sure to check these web sites often and often& http&**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+f-!" http&**www.cockos.com*wiki* The '()P(' Qome Page The '()P(' Downloads Page '()P(' Features summary The '()P(' Forums The '()P(' Biki
0a&p)e Pro5ec" Fi)es

These are available for download from http&**www.cockos.com*wiki*inde1.php*'()P('H7serHDuide 2ote that the links are case sensitive. These files are in . P. format. >ome of the e1amples outlined in this book reCuire recording further tracks in P. format. ,n order to be able to do this, you will need to have the file )a&e6enc.d)) installed in your '()P(' program directory. This file can be downloaded from a number of locations, including http&**www.free5codecs.com*download*RameH(ncoder.htm )fter downloading, simply copy this file into your '()P(' program folder. <pen the file and play it. ,f you hear no sound, you should check the 7#' setting for your aster Track and make sure that output is correctly directed to your sound device.
Fro& "!e 'rigina) /'/8'0 (eb 0i"e .

Cockos ,ncorporated was founded in !""/ as a software development company with philanthropic goals. The engineers who founded Cockos were tired by the frustration and oppression of working within large companies. Rarge public companies often find themselves slaves to their shareholders and while focusing on money, lose sight of what8s really important. The software development background of Cockos is e1tensive55our employees have developed end5user software, software distribution tools, peer5to5peer network and media streaming architectures that are used by many millions of people ;e1amples include Binamp, 2>,>, Dnutella, and >Q<7Tcast?. >ome rules we try to follow&

Dive new features to customers Cuickly& the paradigm of batching updates and then selling them is both a terrible e1perience for the customer, and detrimental to the Cuality of the software. )void copy5protection and D' schemes& these schemes are almost always ineffective, and usually result in a poorer e1perience for paying customers than for pirates. Price software reasonably, trust your customers 'esources should be spent on product development whenever possible. To the consumer, this translates to more bang for the buck.
http&**www.cockos.com*company.php
7n"roduc"ion for App)e *ac Users

)t the time of publishing this upgrade, an <> 4 version of '()P(' is available but may lack some of the features of the PC version. (ven though this 7ser Duide has been produced in con3unction with the PC version of '()P(', )pple ac users should still find it helpful provided you are mindful of the following important differences.
Audio 0e"up
>everal of the )udio >etup procedures and settings for the <> 4 will be different from those outlined in >ection % of this guide. ,t has not yet been possible to document these, but this will especially apply to the Audio9 :evice and Audio9 *7:7 :evices settings pages. Nou can obtain further information by visiting the '()P(' <> 4 forum at !""p:##$$$.coc%os.co&#foru&#inde+.p!p and following the link.
,oos"er 8eys and Rig!" *ouse ,u""on

'()P(' makes e1tensive use of both keyboard shortcuts and of clicking the right mouse button. For <> 4 users, instructions in this 7ser Duide will need to be modified as shown below.
P/ ,oos"er 8ey
0!if" /on"ro) A)"
'0 2 ,oos"er 8ey

0!if" /o&&and 'p"ion /on"ro)
E+a&p)e # /o&&en"s
PC& 0!if" E to show F4 Chain for selected item or take. <> 4& 0!if" E to show F4 Chain for selected item or take. PC& /on"ro) * to toggle show*hide i1er. i1er. <> 4& /o&&and * to toggle show*hide
PC& A)" G to toggle grid lines display on*off. <> 4& 'p"ion G to toggle grid lines display on*off. PC& Click right mouse button to display conte1t menu. <> 4& Click right mouse button to display conte1t menu. or with single button mouse Qold Control key and click mouse button.
Up and Running: A REAPER User Guide v 3.21
/on"en"s
1 0e""ing Up and Ge""ing 0"ar"ed...........................................................................1;
%.% ,ntroducing '()P('................................................................................................................%F %.! ,nstalling '()P('...................................................................................................................%F %.. The ,nstall <ptions..................................................................................................................!" %./ '()P(' >oftware 7pdates.......................................................................................................!" %.E >tarting '()P('.....................................................................................................................!% %.G The '()P(' >creen................................................................................................................!% %.# '()P(' >elections, Controls and Commands.............................................................................!! %.0 >etting 7p For )udio...............................................................................................................!. %.F <utput )liasing.......................................................................................................................!/ %.%" ,nput )liasing.......................................................................................................................!E %.%% >etting 7p For ,D,..............................................................................................................!G %.%! (nabling Plug5ins..................................................................................................................!# %.%. '()P('Js ,nstalled Folders and File Rocations..........................................................................!0 %.%/ 7ninstalling '()P('..............................................................................................................!F %.%E 'unning '()P(' on a Flash Drive..........................................................................................." %.%G '()P(' >tart enu <ptions....................................................................................................% %.%# '()P(' >tartup Tips..............................................................................................................! %.%0 '()P(' File Types.................................................................................................................!
2 REAPER Pro5ec" ,asics........................................................................................33

!.% <pening an (1isting Pro3ect....................................................................................................... !.! Pro3ect >ettings......................................................................................................................./ !.. Directing )udio <utput.............................................................................................................G !./ The Track 'outing Bindow.......................................................................................................G !.E The Transport Par....................................................................................................................0 !.G The Pig Clock..........................................................................................................................F !.# Track Controls.........................................................................................................................F !.0 >etting the Pro3ect >tart Time................................................................................................../" !.F 2(B: ultiple Pro3ect Tabs....................................................................................................../! !.%" 2avigation and Sooming......................................................................................................../. !.%% 2(B: Qiding Tracks.............................................................................................................../E !.%! 7sing the 2avigator.............................................................................................................../E !.%. >elections and Roops............................................................................................................./G !.%/ ,tem 2ames, Puttons and ,cons............................................................................................./# !.%E anaging Time and Roop >elections......................................................................................./0 !.%G Track F4 Pasics...................................................................................................................../F !.%# 7sing the >upplied F4 Presets................................................................................................E" !.%0 Controlling Track F4..............................................................................................................E% !.%F 2(B: )d3usting F4 Bet*Dry Palance.......................................................................................E! !.!" Creating a Default F4 Chain...................................................................................................E. !.!% 7sing an F4 Pus....................................................................................................................E/ !.!! >ending ultiple Tracks to an F4 Pus......................................................................................EG !.!. onitoring F4 Performance....................................................................................................EG !.!/ 2(B: )dding Parameter Controls to the TCP...........................................................................E# !.!E '()P(' Tiews and Bindows..................................................................................................E0 !.!E.% The Performance eter...................................................................................................E0 !.!E.! The 'outing atri1.........................................................................................................E0 !.!E.. The 7ndo Qistory............................................................................................................EF !.!G Docking and Floating.............................................................................................................G"
To obtain a printed spiral bound copy of this book, select the <e)p9 :ocu&en"a"ion9 REAPER ,oo%s"ore command from the main '()P(' menu.

3 Recording $i"! REAPER......................................................................................=1
..% Creating a 2ew Pro3ect............................................................................................................G% ..! >etting )udio Pro3ect <ptions...................................................................................................G! ... >aving the Pro3ect File.............................................................................................................G. ../ Creating and 2aming Tracks....................................................................................................G. ..E To Prepare and 'ecord <ne Track............................................................................................G/ ..G To Prepare and 'ecord ultiple Tracks.....................................................................................GE ..# 2(B: )uto )rming Tracks........................................................................................................GG ..0 'ecording >tereo Tracks..........................................................................................................GG ..F 'ecording a TrackJs <utput......................................................................................................GG ..%" 'ecording the F4 <n Their <wn.............................................................................................G# ..%% Track Templates...................................................................................................................G0 ..%! ,mporting an (1isting Pro3ect.................................................................................................G0 ..%. Pro3ect Templates.................................................................................................................G0 ..%/ Rayered 'ecording................................................................................................................#" ..%E <verdubbing and Punch 'ecording.........................................................................................#" ..%G Punch 'ecording...................................................................................................................#% ..%# Fades and Crossfades............................................................................................................#! ..%0 'ecording ultiple )lternative Takes.......................................................................................#! ..%F >howing Takes in Ranes.........................................................................................................#. ..!" Borking Bith ultiple Takes..................................................................................................#/ ..!% <verlapping Takes................................................................................................................#E ..!! 'ecording ultiple )dditional ,tems........................................................................................#G ..!. 'ecording with (mpty (vents.................................................................................................## ..!/ 'ecording ,D,.....................................................................................................................#0 ..!E 'ecording Bith a Tirtual ,nstrument.......................................................................................0" ..!G 7sing icrosoft D> Bavetable >B >ynth.................................................................................0% ..!# ,mporting edia...................................................................................................................0! ..!0 ,mporting ,D, Files.............................................................................................................0. ..!F ,mporting Bave Files.............................................................................................................0/ ..." 2(B: ,mporting edia from )udio CD....................................................................................0E ...% 7sing the etronome............................................................................................................0G ...! 'ecording with (1ternal F4....................................................................................................0# .... Preference >ettings for 'ecording...........................................................................................00 .../ Track Preferences for 'ecording.............................................................................................0F ...E 'ecording with i1ed Formats................................................................................................0F ...G 'ecording an ,nternet )udio >tream.......................................................................................F" ...# '()P(' )udio 'ecording Checklist.........................................................................................F%
> Pro5ec" Arrange&en" ,asics................................................................................;3

/.% anaging Tracks.....................................................................................................................F. /.! Folders, >ends and Pusses.......................................................................................................F/ /.. 2(B: Creating and 7sing Track Folders....................................................................................FG /...% 2ested Folders.................................................................................................................F# /...! Changing Folder >tructures...............................................................................................F# /./ Track Colors...........................................................................................................................FF /.E Color Themes.........................................................................................................................FF /.G 2(B: Track ,cons...................................................................................................................%"" /.# 2(B: Qiding Tracks................................................................................................................%"" /.0 Track Control odifiers............................................................................................................%"% /.F >olo ,n Front..........................................................................................................................%"! /.%" Track and Track Control Drouping..........................................................................................%".

/.%".% Pasic Track Drouping......................................................................................................%". /.%".! Track Drouping Pasic Controls.........................................................................................%"G /.%".. aster and >lave Track Drouping.....................................................................................%"# /.%"./ Droup Parameter >tatus ,ndicators...................................................................................%"F /.%% Displaying Drid Rines.............................................................................................................%%" /.%! )udio >crubbing....................................................................................................................%%% /.%. >earching the Preferences >ettings.........................................................................................%%!
? *anaging 1rac% and 7"e& F2............................................................................113

E.% Drouping F4...........................................................................................................................%%. E.! Filtering Track F4....................................................................................................................%%/ E.. Clear F4 Filter <ptions.............................................................................................................%%E E./ Copying Track F4....................................................................................................................%%G E.E 2(B: oving Track F4............................................................................................................%%G E.G 'enaming Track F4.................................................................................................................%%# E.# Changing the Default F4 2ame................................................................................................%%# E.0 Per ,tem F4............................................................................................................................%%0 E.F 7sing ,tem F4 with ultiple Takes............................................................................................%%F E.%" )dding F4 to ultiple ,tems...................................................................................................%%F E.%% <ptimi9ing F4 Performance....................................................................................................%!" E.%! <pening a File in 'ecovery ode............................................................................................%!% E.%. >tem 'endering....................................................................................................................%!% E.%/ >tem 'endering a Droup of Tracks.........................................................................................%!!
= Edi"ing 1rac%s and 7"e&s..................................................................................123

G.% Qeadphone onitoring............................................................................................................%!. G.! Creating a Qeadphone i1.......................................................................................................%!/ G.. 7sing an (1ternal (ditor..........................................................................................................%!E G./ (diting ,tems in '()P('..........................................................................................................%!G G.E >tandard Bindows Features.....................................................................................................%!G G.G The 7ndo Qistory Bindow.......................................................................................................%!# G.# '()P(' (diting Fundamentals................................................................................................%!0 G.0 (diting Pehavior Preferences....................................................................................................%." G.F anipulating )reas and >elections............................................................................................%.% G.%" >napping with Combined >nap*Drid >ettings...........................................................................%.! G.%% >napping with >eparate >nap and Drid >ettings.......................................................................%.. G.%! >eparating Roop >election From Time >election.......................................................................%./ G.%. edia ,tem Properties...........................................................................................................%.E G.%/ 2(B: edia ,tem ,cons.........................................................................................................%.G G.%E ,tem 2otes...........................................................................................................................%.G G.%G )d3usting ,tem Tolume..........................................................................................................%.G G.%G.% The ,tem Tolume Qandle.................................................................................................%.G G.%G.! The Tolume Fader...........................................................................................................%.# G.%G.. 2ormali9ing ,tems...........................................................................................................%.# G.%# Changing ,tem Channel ode................................................................................................%.0 G.%0 >ource Properties..................................................................................................................%.F G.%F '()P(' (diting and )uditioning (1ample................................................................................%.F G.!" (diting edia ,tems During Playback......................................................................................%/! G.!% Dynamic >plitting 5 'emove >ilent Passages............................................................................%/. G.!! Crop Pro3ect to >election........................................................................................................%/E G.!. )d3usting Fades....................................................................................................................%/G G.!/ >lip (diting...........................................................................................................................%/#

G.!E G.!G G.!# G.!0 G.!F G.." G..% G..! Free ,tem Positioning............................................................................................................%/# Coloring ,ndividual ,tems.......................................................................................................%/0 Drouping ,tems.....................................................................................................................%/F Dlue >elected ,tems..............................................................................................................%E" Creating and Copying ,tems in Pencil ode.............................................................................%E% 'ipple (diting.......................................................................................................................%E% Trim to >elected )rea............................................................................................................%E. 4enakios (1tensions..............................................................................................................%E.
@ Arranging and Edi"ing *u)"ip)e 1a%es...............................................................1??

#.% (1ploding Takes to ultiple Tracks...........................................................................................%EE #.! Crossfades.............................................................................................................................%EG #.. (1ploding Takes in Place.........................................................................................................%EG #./ (diting ultiple Takes.............................................................................................................%E# #.E Take (nvelopes and Take F4...................................................................................................%E0 #.G )pplying F4 to ,tems as 2ew Takes..........................................................................................%E0 #.# Creating a Duplicate Take........................................................................................................%E0 #.0 Crop to Take..........................................................................................................................%E0 #.F 'eversing ,tems as 2ew Takes.................................................................................................%EF #.%" 2on Destructive (diting.........................................................................................................%EF
A Boops9 *ar%ers and Regions.............................................................................1=1

0.% Creating Roops.......................................................................................................................%G% 0.! Creating and 2avigating with arkers.......................................................................................%G! 0.. >napping to arkers...............................................................................................................%G. 0./ 'epositioning and 'earranging arkers....................................................................................%G/ 0.E 'emoving arkers..................................................................................................................%GE 0.G 'egions..................................................................................................................................%GE 0.# Changing the Pro3ect Timebase................................................................................................%GG 0.0 arkers and edia Cues..........................................................................................................%G# 0.F anaging arkers and 'egions................................................................................................%G0 0.%" Tempo Pased usic Production..............................................................................................%#" 0.%".% Time Pased usic Pasics.................................................................................................%#" 0.%% Pro3ect >ettings.....................................................................................................................%#% 0.%%.% )udio edia ,tem Properties............................................................................................%#! 0.%%.! Creating a Roop from a Time >election.............................................................................%#! 0.%%.. Creating a Roop from Transients......................................................................................%#. 0.%%./ Peat Correction...............................................................................................................%#. 0.%%.E @uanti9ing ,tems............................................................................................................%#E 0.%! Dynamic >plitting..................................................................................................................%#E 0.%!.% >plitting a edia ,tem into >amples..................................................................................%#G 0.%!.! Changing the Pro3ect Tempo............................................................................................%#F 0.%!.. Creating a Chromatic ,D, ,tem.......................................................................................%#F 0.%!./ >aving and 7sing >amples...............................................................................................%0" 0.%. '(4 File >upport...................................................................................................................%0"
; *ore Pro5ec" *anage&en" Fea"ures.................................................................1A1

F.% Rock >ettings..........................................................................................................................%0% F.! Rocking ,ndividual ,tems..........................................................................................................%0! F.. 7sing >creen >ets...................................................................................................................%0. F...% Creating and 7sing Track Tiews.........................................................................................%0. F...! Creating and 7sing Dlobal Bindow Tiews...........................................................................%0/

F.... )uto >aving >creen >ets....................................................................................................%0E F./ 2(B: )dding Parameter Controls to the Track Control Panel......................................................%0G F.E The arCuee..........................................................................................................................%00 F.G 2(B: Track Control Panel Qelp................................................................................................%00
1 Pi"c! and 1i&e *anipu)a"ion..........................................................................1A;

%".% %".! %".. %"./ %".E %".G %".# %".0 Changing Pitch for ,ndividual edia ,tems...............................................................................%0F 7sing 'eaPitch......................................................................................................................%F" 7sing 'eaPitch with ultiple Tracks........................................................................................%F% ,nstrument Tuning with 'eaTune...........................................................................................%F% Pitch Correction with 'eaTune................................................................................................%F! Time >tretching....................................................................................................................%F. Changing the Pro3ect Playrate................................................................................................%F/ Changing the Time >ignature arker......................................................................................%FE
11 1!e REAPER *i+er and *as"er........................................................................1;@

%%.% ,ntroduction..........................................................................................................................%F# %%.! i1er Rayouts.......................................................................................................................%F# %%.. 2(B: )dvanced i1er Rayout anagement.............................................................................!"" %%./ odifying Track Rayout (lements...........................................................................................!"% %%.E 7sing Bindows >creen >ets...................................................................................................!"! %%.G Track Control enus and Bindows.........................................................................................!"! %%.# i1er >hortcuts.....................................................................................................................!". %%.0 i1er Color Themes...............................................................................................................!"/ %%.F 2(B: >howing F4 Parameter Controls.....................................................................................!"E %%.%" i1er )ppearance >ettings...................................................................................................!"E %%.%% aster Track <ptions and >ettings........................................................................................!"E %%.%! aster Qardware <utputs....................................................................................................!"G %%.%. aster Track Channels.........................................................................................................!"G %%.%/ )voiding Channel Reakage....................................................................................................!"0 %%.%E 'eset T7 eter Peaks..........................................................................................................!"0
12 3E(4 *anipu)a"ing and Edi"ing *7:7 7"e&s..................................................2 ;

%!.% )ccessing the ,D, (ditor......................................................................................................!"F %!.! The ,D, (ditor Bindow........................................................................................................!%" %!.. Control Change essages......................................................................................................!%. %!./ Control Channel Pasics..........................................................................................................!%/ %!.E Borking with ,D, (ditor Ranes.............................................................................................!%/ %!.E.% Pank Program*>elect.......................................................................................................!%/ %!.E.! >yse1 (vents..................................................................................................................!%E %!.E.. Te1t (vents....................................................................................................................!%E %!.E./ Deneral CC Rane (diting TechniCues.................................................................................!%G %!.G Tiewing ultiple ,tems..........................................................................................................!%G %!.# 2avigating the ,D, (ditor ain Bindow................................................................................!%# %!.0 Pasic 2ote >election and anipulation....................................................................................!%# %!.F The ,D, (ditor enus..........................................................................................................!%0 %!.%" 2ote Creating and (diting....................................................................................................!!! %!.%% 7sing the =eyboard.............................................................................................................!!/ %!.%! Deneral ,D, Program Patches.............................................................................................!!E %!.%. ,D, (ditor odes and Tiews...............................................................................................!!E %!.%..% 2ote odes..................................................................................................................!!E %!.%..! 2ote >tyles...................................................................................................................!!F

%!.%/ %!.%E %!.%G %!.%# %!.%0 %!.%F %!.!" %!.!% %!.!! %!.!. %!.!/ @uanti9ing ,D, Data..........................................................................................................!!F ,nput @uanti9ation...............................................................................................................!.% Qumani9e 2otes..................................................................................................................!.% 7sing the ,D, (ditor& an (1ercise........................................................................................!.! ,D, )ctions.......................................................................................................................!./ ,n5Rine ,D, (diting............................................................................................................!.E Dhost Copying.....................................................................................................................!.G $oining ,D, ,tems..............................................................................................................!.# >ome ,D, Plug5ins.............................................................................................................!.0 ,D, Controlled Pitch >hift with 'eaToice..............................................................................!.F ,D, Preferences >ettings....................................................................................................!/%
13 8eyboard 0!or"cu"s9 /us"o& Ac"ions9 *enus and 1oo)bars...........................2>3

%..% ,ntroduction..........................................................................................................................!/. %..! Prowsing the )ction Rist.........................................................................................................!/. %... >earching the Rist.................................................................................................................!// %../ ,mporting (1isting =eyboard >hortcuts....................................................................................!/E %..E Creating a 2ew >hortcut........................................................................................................!/E %..G Changing an (1isting =ey )ssignment.....................................................................................!/G %..# 7sing =eyboard >hortcuts when 'ecording..............................................................................!/# %..0 Creating Custom )ctions........................................................................................................!/0 %..F =eyboard >hortcuts for Track Control Panel Functions..............................................................!/F %..%" 7sing a Control >urface with '()P('....................................................................................!/F %..%% )ssigning a >hortcut to an (diting >eCuence..........................................................................!E! %..%! 'unning )ctions* acros.......................................................................................................!E! %..%. 4enakios and >B> (1tensions..............................................................................................!E. %..%/ 'emoving an )ssigned =eyboard >hortcut.............................................................................!E. %..%E eta )ctions.......................................................................................................................!E/ %..%G (diting a Custom )ction acro.............................................................................................!E/ %..%# )ssigning )ctions to the ousewheel....................................................................................!EE %..%0 ,D, (ditor )ctions and acros............................................................................................!EG %..%F ,D, (diting acros A >ome ore ,deas...............................................................................!E# %..!" 2(B: <pening the )ctions Rist.............................................................................................!E0 %..!% =eyboard Preferences..........................................................................................................!E0 %..!! 2(B: ,mporting >cripts........................................................................................................!E0 %..!. 2(B: Customi9ing the '()P(' enus..................................................................................!EF %..!/ 2(B: Customi9ing the '()P(' Toolbars...............................................................................!G% %..!E 2(B: Floating Tool Pars......................................................................................................!G. %..!G 2(B: Creating >mart Tools..................................................................................................!G/
1> 3E(4 REAPER Au"o&a"ion..............................................................................2=?

%/.% Bhat is )utomation+.............................................................................................................!GE %/.! )utomation (nvelope ethods...............................................................................................!GE %/.. anaging (nvelopes..............................................................................................................!GG %/./ )vailable Track and >end (nvelopes.......................................................................................!GG %/.E Briting )utomation...............................................................................................................!G# %/.G Briting ute )utomation.......................................................................................................!G0 %/.# )utomation odes................................................................................................................!GF %/.0 'educing the 2umber of (nvelope Points................................................................................!#" %/.F anually )d3usting (nvelopes................................................................................................!#" %/.%" anaging )utomation (nvelope Display................................................................................!#% %/.%% >ome (nvelope (diting TechniCues.......................................................................................!#.

%/.%! %/.%. %/.%/ %/.%E %/.%G %/.%# %/.%0 %/.%F %/.!" %/.!% %/.!! %/.!. %/.!/ %/.!E %/.!G %/.!# %E.% %E.! %E.. %E./ %E.E %E.G %E.# 2(B: (nvelope )ppearance Preferences..............................................................................!#G 2(B: Copying (nvelopes with ,tems.....................................................................................!#G )utomation Bith Drouped Track Parameters..........................................................................!## )utomation with Track >ends...............................................................................................!#0 )utomation with ,tems and Takes.........................................................................................!#F )utomation with Qardware <utput >ends..............................................................................!0" (nvelope >hapes.................................................................................................................!0% 7sing (nvelopes with F4 Parameters.....................................................................................!0% Creating (nvelopes from the F4 Parameter Bindow...............................................................!0. )utomation and (nvelope Defaults........................................................................................!0/ )utomating F4 Parameters on the Fly...................................................................................!0E oving (nvelope Points Bith edia ,tems.............................................................................!0E )utomating )utomation.......................................................................................................!0G )utomating the etronome..................................................................................................!0G 7sing the Tempo ap and Play >peed (nvelopes...................................................................!0# Rocking (nvelopes...............................................................................................................!00
1? E+por"ing Fi)es9 *i+ing :o$n and Rendering.................................................2A;

2(B: Patch File Conversion...................................................................................................!0F Consolidating and (1porting...................................................................................................!F" 'endering ) Pro3ect...............................................................................................................!F% 'endering a Finished >ong.....................................................................................................!F. 2(B: Patch 'endering..........................................................................................................!F/ Purning an )udio CD with '()P('..........................................................................................!FE >aving Rive <utput to Disk.....................................................................................................!F#
1= REAPER P)ugCins in Ac"ion..............................................................................2;;

%G.% Bhat )re Plug5ins+................................................................................................................!FF %G.! The Three Raws of Plug5ins....................................................................................................!FF %G.. The Five Types of Plug5in.......................................................................................................!FF %G./ >ound >haping (ffects& (@......................................................................................................"" %G.E Time Pased (ffects& Delay......................................................................................................"% %G.G Tolume Changing Plug5ins& the Rimiter....................................................................................."! %G.# )nalytical Plug5ins& the DF4)naly9er........................................................................................". %G.0 Time Pased (ffects& 'eaTerb................................................................................................."/ %G.F Tolume Control with Compression..........................................................................................."G %G.%" R<>('Js Transients =iller Clipper............................................................................................"# %G.%% Tolume Control with a 2oise Date.........................................................................................."# %G.%! Time Pased (ffects& Chorus..................................................................................................."0 %G.%. 2oise 'eduction with 'eaFir.................................................................................................."F %G.%/ ultiband Compression with 'ea4Comp.................................................................................%" %G.%E 2(B: 'eaControl ,D,..........................................................................................................%! %G.%G $>& ,4* ,D,H'outer..............................................................................................................%! %G.%# R<>('Js TimeDifference Pan.................................................................................................%. %G.%0 R<>('Js (1citer....................................................................................................................%. %G.%F >>Tillwell8s QugePooty..........................................................................................................%. %G.!" >ome Duitar F4 Plug5ins........................................................................................................%/ %G.!% >ome <ther '()P(' $> Plug5ins............................................................................................%E %G.!! 2(B: >pecifying T>T Plug5in 'un ode................................................................................%G %G.!. Third Party Plug5in Presets ...................................................................................................%G
1@ *ore REAPER Rou"ing E+a&p)es....................................................................321


%#.% Controlled Pleed.....................................................................................................................!% %#.! >plitting Channels..................................................................................................................!. %#.. Full and Fat Tocals with 'eaDelay...........................................................................................!E %#./ Channel >plitting and Pitch >hifting..........................................................................................!# %#.E )udio Ducking........................................................................................................................!0 %#.G Double Ducking.......................................................................................................................% %#.# 'ea>amplomatic and 'eaDrums...............................................................................................! %#.0 ulti <utput T>Ti Plug5ins......................................................................................................./ %#.F Parallel F4 Processing& the ,4 Channel i1er.............................................................................G %#.%" ore Parallel F4 Processing....................................................................................................0 %#.%% <ther Channel 'outing Plug5ins ;<verview?.............................................................................0 %#.%! >urround i1ing....................................................................................................................F %#.%. '()P('Js 'outing ,nterface................................................................................................../"
1A Para&e"er *odu)a"ion....................................................................................3>1
%0.% %0.! %0.. %0./ %0.E %0.G %0.# %0.0 %0.F The Concept........................................................................................................................../% The ,nterface........................................................................................................................./% Defining a Parameter for odification....................................................................................../. Controlling an F4 Parameter on the >ame Track......................................................................./. Dynamic Compression............................................................................................................/E Pypass ode........................................................................................................................./G 2(B: 7sing Parameter odulation with an (nvelope................................................................./# Controlling F4 Parameters on a Different Track........................................................................./# Further )pplications.............................................................................................................../F
1; 3E(4 REAPERDs Preferences and '"!er 0e""ings ...........................................3?1

%F.% )udio Configuration................................................................................................................E% %F.! Customising )udio Puffering Preferences..................................................................................E. %F.. Customising Pro3ect Defaults...................................................................................................E/ %F./ Customising (diting Pehavior Preferences................................................................................EE %F.E Customi9ing (nvelope Pehavior...............................................................................................EG %F.G Customising ouse Pehavior...................................................................................................E# %F.# Customising )ppearance.........................................................................................................E0 %F.0 Customising edia Preferences...............................................................................................G% %F.F Custom 7, Tweaks.................................................................................................................G! %F.%" Customising T>T Plug5,n Pehavior.........................................................................................G! %F.%% Customising Plug5,ns ,nterface and Pehavior..........................................................................G. %F.%! Further Customising Playback Pehavior..................................................................................G/ %F.%. Pro3ect and File anagement................................................................................................GE %F.%/ Customising the Time Display...............................................................................................GE %F.%E Customising Track >olo Pehavior...........................................................................................GG %F.%G Customising the Performance eter.......................................................................................GG %F.%# Customising Track Default >ettings........................................................................................GG %F.%0 Customising 7ndo Qistory Pehavior........................................................................................G# %F.%F >ome <ther '()P(' <ptions.................................................................................................G#
2 *ain Rig!"C/)ic% /on"e+" *enus 0u&&ary....................................................3=;

!".% !".! !".. !"./ !".E The Track Control Panel Conte1t enu.....................................................................................GF The (mpty Track Rist )rea Conte1t enu.................................................................................#% The Timeline and 'uler Conte1t enu......................................................................................#! The edia ,tems Conte1t enu...............................................................................................#/ The ,tem >ettings Conte1t enu............................................................................................#G

!".G The ,tem Take Conte1t enu..................................................................................................## !".# The ,tem Processing Conte1t enu..........................................................................................#0 !".0 The 'ecord )rm Conte1t enu................................................................................................#F !".F The (nvelopes Conte1t enu..................................................................................................0" !".%" The Transport Par Conte1t enu...........................................................................................0! !".%% The 'outing atri1 Conte1t enu..........................................................................................0. !".%! The F4 Bindow Conte1t enu...............................................................................................0/ !".%. The ,D, ,n5Rine (ditor Conte1t enu...................................................................................0G !".%/ The ,D, (ditor Conte1t enu..............................................................................................0G
21 ReaRou"e: Using REAPER $i"! '"!er Audio Apps..........................................3A;

!%.% !%.! !%.. !%./ !%.E !%.G !!.% !!.! !!.. !!./ !!.E Bhat is 'ea'oute+.................................................................................................................0F >etting 7p )pps for 'ea'oute.................................................................................................F" >ending )udio From '()P(' to )nother D)B )pp...................................................................F% >ending )udio From )nother D)B )pp to '()P('...................................................................F. 7sing '()P(' Bith a >ynth Borkstation..................................................................................F/ >yncing to an (1ternal Device.................................................................................................FE 2(B: 'ea>cript......................................................................................................................F# 'ea ote................................................................................................................................F# 'ewire..................................................................................................................................F# '()P(' and 2,2$) ..............................................................................................................F# '()P(' and Tideo.................................................................................................................F0
22 0o&e '"!er REAPER Fea"ures E'vervie$F.....................................................3;@
23 1roub)es!oo"ing REAPER................................................................................3;;
!..% ,nput*<utput ,ssues...............................................................................................................FF !..! '()P(' ,nterface ,ssues......................................................................................................../"!
(!a"Ds 3e$ 7n 1!is Edi"ion ..

This edition of the '()P(' 7ser Duide includes a number of fi1es to minor typos and layout issues. ,n addition, the following changes and additions have been incorporated&
(!ere .
0ec"ion A.13 G RE2 fi)es 0ec"ion 11.3 G Advanced *i+er Bayou" *anage&en" 0ec"ion 12.2> G *7:7 Preferences 0ec"ion 22.1 C Rea0crip"
(!a" ...
Tarious new preferences added. 2ew >ection. Tarious new commands and options added. Tarious new preferences added. 2ew section& 'ea>cript overview.
3o"e: Bith '()P('8s rapid rate of development, you may find that this user guide may not be %""O up to date at the time you are reading it. For a full list of new and recent features, choose the <e)p9 /!ange)og command from the '()P(' menu. To check for the latest versions of both '()P(' and this 7ser Duide, go to !""p:##$$$.coc%os.co&#reaper#do$n)oad.p!p
1!e *ain 0"uff
1 C 0e""ing Up and Ge""ing 0"ar"ed 1

1.1
0e""ing Up and Ge""ing 0"ar"ed

7n"roducing REAPER
'()P(' is a powerful Bindows application for multitrack recording and editing of audio. '()P(' provides a fle1ible but easy to use interface that is suitable for professionals and non5professionals alike. For more information on '()P('8s large range of easy to use features and in depth capabilities, check out the Features and Technical >pecifications pages& http&**www.cockos.com*reaper*features.php To download '()P(', visit the download page& http&**www.cockos.com*reaper*download.php The '()P(' Downloads Page '()P(' is reasonably priced, sustainably developed, uncrippled une1piring shareware. To purchase your '()P(' licence, visit the Purchase Page& http&**www.cockos.com*reaper*purchase.php The '()P(' Purchase Page '()P(' Features summary
1.2
7ns"a))ing REAPER
P of disk space. )fter downloading the '()P('
) full installation of '()P(' reCuires appro1imately %... install file, follow this seCuence& %. ,n Bindows (1plorer, find the folder to which the '()P(' install file was downloaded. The file name includes the current version number, and will be something like reaper 3 1C ins"a)). e+e. Double click on this file name to run the install program. ,f you agree with the Ricence Conditions, click the 7 Agree button to continue. >elect which elements you wish to install ;see picture right and comments below?. )ccept the default folder offered to you A /:HProgra& Fi)esHREAPER A and click ,nstall. Bait while the program installs.
!. ..
/.
E.
G. #.
Bhen prompted, click on /)ose to Close the ,nstall program, then 3o to indicate that you do not yet want to run '()P('.
1ip: ,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.
%F

1.3 1!e 7ns"a)) 'p"ions
The ,nstall screen gives you the opportunity to decide which '()P(' elements you choose to install and which ones you prefer not to install. Risted below is a summary of your main options.
7"e&
Audio Processing P)ugCins
E+p)ana"ion
This is a collection of )udio and ,D, F4 that is supplied with '()P(' A such as a Compressor, a 2oise Date and a >ynthesi9er. 7sually you should make sure this option is ticked. This allows you to work with file formats such as P., <DD, )P( ; onkeyJs )udio?, FR)C and BavPack as well as Tideo files. 2ote that to render ;mi1 down to? P. files you will also need to download from the internet the file )a&e6enc.d)) and then copy or move it into your '()P(' program directory.
/o&pressed Fi)e 0uppor"
/us"o&i-a"ions
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 (1plorer, CD Purning and 'ewire. These aspects will be discussed later in this guide. ,f you are new to '()P(', you might wish not to install at this stage the 'ea'oute )>,< driver, nor 'eBire nor 'ea ote. This makes for simpler options when audio routing. Nou can always add these later. Reaving this option selected ensures that a '()P(' shortcut icon will be placed on your Bindows desktop. Reave this option ticked to ensure that '()P(' is added to your Bindows >tart enu. Ticking this option will enable you to open '()P(' with any of you '()P(' Pro3ect files direct from Bindows (1plorer or any desktop shortcut that you might create for your pro3ects. ,f you leave this option ticked, a sample pro3ect file will also be installed along with '()P('. This is not the same as any of the sample pro3ect files associated with this 7ser Duide.
Addi"iona) Func"iona)i"y
:es%"op 7con 0"ar" *enu 0!or"cu"s Associa"e $i"! RPP Fi)es
:e&o Pro5ec"
1.>
REAPER 0of"$are Upda"es
'()P(' is updated freCuently and regularly, with bug fi1es, new features and other enhancements. )t the time of writing, updates are being released at the rate of every two or three weeks. Nou can check for updates at any time by visiting !""p:##$$$.reaper.f&# >imply download and install. There is no need to first uninstall any previous version. (1isting preferences and settings will automatically be carried over. 1ip& )n option is available under Preferences9 Genera) to have '()P(' automatically check for updates each time the program is started ;provided of course you are on5line at the time?. Nou will be shown how to select this option later.
!"
1 C 0e""ing Up and Ge""ing 0"ar"ed

1.? 0"ar"ing REAPER
To start '()P(', 3ust double click on the '()P(' desktop icon. 1ip: Nou can assign a desktop shortcut key within Bindows, to make it even easier to start up the '()P(' program. To do this& %. !. .. /. E. G. 'ight click over the '()P(' shortcut icon on your desktop. Choose Proper"ies from the menu, then click on the >hortcut tab. Tab to or click on the >hortcut Field Press your preferred shortcut, e.g. /"r) A)" R. Click on App)y. Click on '8 .
1.=
1!e REAPER 0creen
3o"e: '()P(' allows you to select from a large number of different color themes and skins. The screen shots used in this book use the '()P(' . default theme& if 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.
!%

Bhen you start '()P(', it displays a screen similar ;but not necessarily identical? to that shown above. The e1ample shows a typical pro3ect file that has been opened. 2ote the following. BeJll e1amine the elements in more detail shortly.
7"e&
1!e *ain *enu
E+p)ana"ion
This is displayed near the top as a row of commands A Fi)e9 Edi"9 Vie$9 1rac% and so on. )s in other Bindows applications, the menu is used to give commands. $ust below the menu are two rows of seven buttons each. This is the '()P(' ain Bindow Toolbar. Depending on the color theme in use, your buttons might not look the same as those shown. Qowever, as with other )pps, you can hover your mouse over any Tool to obtain a tooltip ;see e1ample, left?. Rater in this 7ser Duide you will be shown how you can customi9e this toolbar.
1!e *ain (indo$ 1oo)bar
1!e 1rac% con"ro) pane)s E1/PF
These are the areas which are used to control the behavior of your audio and ,D, tracks A in this e1ample there are %! tracks, labelled from top to bottom Tocals, Ralala etc. <f course you can have as many tracks as you need, sub3ect only to any limitations imposed on you by your hardware. 2otice that each track has its own set of controls. Be8ll get to what these controls do and how they are used later, and again, tooltips are available for each of these.
1!e *ain (indo$ and Edi" Area
This is to the right of the Track Panes. ,t displays the actual edia clips ;or items? that make up your tracks. This can be any combination of )udio and ,D, items. Tideo items can also be included, but that is beyond the scope of this guide. The timeline runs across the top of the '()P(' window, 3ust to the right of the main toolbar. ,t measures the length of your pro3ect and helps you identify the position of the various media items. ,n the e1ample on the left, the timeline is measured and displayed in both measures and beats ;top? and minutes and seconds ;below?.
1!e 1i&e)ine
1!e *i+er
This is displayed ;in this e1ample? across the bottom of the screen. 2otice that it includes a *A01ER output track.
DonJt be surprised if your screen doesnJt look Cuite the same as this, or even if it looks a lot different. The '()P(' screen can be customised to suit your individual needs. BeJll be covering this in >ection !.
1.@
REAPER 0e)ec"ions9 /on"ro)s and /o&&ands
Borking in '()P(' consists largely of making selections and giving commands. >ometimes you will want to do something to one item, perhaps 3ust one audio clip. For e1ample, you might have an item ;or clip? that you no longer need, and which you wish to be deleted. ,n this case, you will select that item ;usually using your mouse? and then give the appropriate command to tell '()P(' to delete it.
!!

<ther times, you will want to give a command that affects the whole of your pro3ect file. For e1ample, you might wish to save all your work to date. ,n that case there would be no need to select anything A you would only need to give the commands. There are four methods commonly used to give commands in '()P('&
*e"!od
1!e *ain *enu /on"e+" *enus 1oo)bars 8eyboard 0!or"cu"s
/o&&en"
)s with other )pps, this is accessed by the mouse or keyboard. Clicking your right mouse button over an item or area of the screen will display a menu relevant to where you have clicked. Clicking your mouse on any tool causes its command to be e1ecuted. =eyboard shortcuts can be assigned to most controls and functions. This is an important and powerful aspect of '()P('. This topic is covered in depth in >ection %..
1.A
0e""ing Up For Audio
Pefore 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;s? you have, and how you wish to use them. To set up your )udio Device, first choose the 'p"ions9 Preferences command from the select :evice under Audio from the list of available topics& ain enu, then
From this screen, you should select&
!.

7"e&
Audio 0ys"e&
/o&&en"
The remaining items on this screen will vary according to which audio system you select here. Nou should Choose )>,< if )>,< drivers are available for your PC, sound card or Firewire or 7>P device. The comments that follow assume that you have selected )>,<.
A07' :river Enab)e 7npu"s
For best results, choose the )>,< driver;s? for your device. This option needs to be turned on ;ticked? if you wish to use '()P(' for recording. ,f your device has multiple inputs, specify the first and last device that you want to be available. ,n the e1ample above, eight inputs are available, This enables up to eight microphones or lines ;in any combination? to be used simultaneously for recording. ,f your device has multiple outputs, specify the first and last that you wish to be available. 7sually, your )>T(' bus will direct output to a single pair of outputs, but you can use the others also if you wish. Clicking this button gives you access to the Control >oftware for your audio device settings.
7npu" Range
'u"pu" Range
A07' /onfigura"ion
1.;
'u"pu" A)iasing
'()P(' supports a feature known as 'u"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 soundcard or other audio device provides multiple outputs. For e1ample, one pair of outputs might be connected to your control room monitors, another to studio monitors, and a third pair to a multi5output headphone monitor. )t the same time your sound card outputs will have names something like those shown here ;right?. Clearly, these names are not very useful to you. Py assigning )liases to these outputs, you can ensure that whenever you need to display a list of your outputs ;for e1ample, when determining the destination of the output from your aster? your own names will be displayed, instead of the hardware device names. To create output aliases& %. !. .. Choose the 'p"ions9 Preferences command. Display the Audio page and in the section labelled /!anne) 3a&ing make sure you have ticked the option 'u"pu" /!anne) 3a&e A)iasing ;this is almost the last item on this screen?. Click on the Edi" 3a&es button for this item.
!/

/. Double5click in the Channel 2ames column on each item shown ;each in turn? to edit them. ,n each case, after typing your preferred alias, click on '8 to return to the 'u"pu" /!anne) 3a&e A)iasing window ;shown on the right?. Click on '8 to close this window and return to the Preferences dialog bo1. Click on App)y and '8 to close the Preferences dialog bo1.
E. G.
Nour specified names should now automatically be used throughout '()P('. The topic of actually assigning outputs to tracks will be covered later, starting at >ection !.
1.1
7npu" A)iasing
'()P(' also supports 7npu" A)iasing. ,nput aliasing is a term which refers to the ability to give your own names to your audio inputs. This is often used simply to shorten the long names that the system will often give your audio inputs, especially when your device supports multiple inputs. ,nput )liasing is performed in much the same way as <utput )liasing, e1cept that on the Audio Preferences screen you select 7npu" /!anne) 3a&e A)iasing instead of <utput Channel 2ame )liasing. )n e1ample of the use of this feature might be to change names like Ana)og 7n 1 :e)"a 1 1 E1F, Ana)og 7n 2 :e)"a 1 1 E1F and so on to 3ust *ic#Bine 1, *ic#Bine 2, etc.
!E

1.11 0e""ing Up For *7:7
,f you intend to use ,D, at all, you should enable your ,D, devices. any PC, sound cards, Firewire and 7>P audio devices include a ,D, input and output port ;for use, for e1ample, with a ,D, =eyboard?. Choose 'p"ions9 Preferences from the ain enu, then display the *7:7 :evices screen under Audio. Nou can select in turn each of the listed ,D, ,nput and <utput devices, right5click over its name, then choose Enab)ed. Nou can double5click on any input device name to display its /onfigure *7:7 7npu" settings ;see right?. This enables you to assign your own name ;or alias? for the device, or to specify your advanced timestamp options ;if reCuired?. To assign your own name or to specify a time offset for any ,D, <utput device, right click over the device name and choose /onfigure 'u"pu" from the conte1t menu ;see below right?. ,f you have a 3oystick that you wish to use with '()P(' you should click on the Add 5oys"ic% *7:7 button then select the device name and processing mode. Nou can also specify whether you wish to use it for Tirtual ,D, =eyboard input an*or as a ,D, control*learn device. ,f you have a Control >urface, such as a PC'!""", which you intend to use with '()P(', then you should set its input mode to /on"ro) 'n)y. The use of Control Devices will be e1plained later in this guide.
'"!er Audio Preferences

Nou can see that there are other )udio Preference screens that we have not yet e1amined, including ,uffering, P)aybac% and Recording. These will be dealt with later in this 7ser Duide, in a more appropriate conte1t. Bhen getting started, you should be able to 3ust leave these settings at their defaults, only returning to change them later if you find that you wish or you need to do so. Bhen finished, clicking on '8 will, of course, close the Preferences bo1 and cause your settings to be remembered.
!G

1.12 Enab)ing P)ugCins
ThereJs one further Preferences screen you will probably want to visit before you get started A V01 P)ugCins. )s with )udio Preferences, '()P(' has several pages of Plug5in Preference screens, but these can ;at first at least? be left to their default settings. Qowever, if you already have a collection of T>T and*or T>Ti Plug5ins on your computer, you will need to tell '()P(' where to find them. To do this, choose the 'p"ions9 Preferences command, then select V01 under the P)ugCins section.
Nou can leave most settings as they are ;at least for now?, but you will need to click on the Add button to specify the location;s? of the folder;s? where your T>T plug5ins are stored. ,f your T>T plug5ins are spread across more than one folder ;this is not unusual?, you will need to click on the Add button several times, each time selecting one of your folders. 'emember to use the App)y button after doing so. Bhen you specify a folder for your T>T and T>Ti plug5ins, '()P(' will automatically also scan any subfolders below that folder. <f course, if you miss any, you can return to this screen at any time and add them to your selection later. Bhen you have finished specifying the location;s? of your T>T Plug5ins, clicking on '8 will close this screen and cause your settings to be remembered.
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1.13 REAPERIs 7ns"a))ed Fo)ders and Fi)e Boca"ions
,f you are used to working with D)B software that leaves a trail of often unintelligible data scattered all across your hard disk and registry, in a seemingly random fashion that makes it impossible to figure out where all your valuable settings are stored, then you are going to love '()P(': The e1act number of installation and preference files you have will depend to some e1tent on your ,nstall and Preference options, but in general, the story is this&
REAPERIs 7ns"a))ed Fo)ders and Fi)e Boca"ions

1!e Regis"ry '()P(' does not store any install data, settings or preferences in your Bindows 'egistry. Nes, thatJs right: Bindows will set up an item for '()P(' under Q=(NH R<C)RH )CQ,2(, >oftware but it will not contain any data. The only other e1ception to this is that Bindows keeps a record of your file movements in 'egistry areas such as its *U7/ac!e but none of these references will affect '()P('Js ability to function in any way. 1!e REAPER 7ns"a)) :irec"ory Py default, '()P(' installs to /:HProgra& Fi)esHREAPER This folder contains the '()P(' program files. Nou should also ensure that )a&eCenc.d)) is also installed to this folder if you intend to use the P. format. any of the optional install items are held in sub5folders of /:HProgra& Fi)esHREAPER For e1ample, if you chose to install the F4 Plug5ins, you will have a folder called /:HProgra& Fi)esHREAPERHEffec"s ,f you chose to install the Color Themes, you will have a folder called /:HProgra& Fi)esHREAPERH/o)or 1!e&es K. and so on. 1!e App)ica"ion :a"a :irec"ory Nour preferences and other settings are all held in the '()P(' )pplication Data directory. This is created for you when you install '()P(', using your Bindows 7ser 2ame. ,f you are using Bindows 4P, look in Bindows (1plorer for& /:H:ocu&en"s and 0e""ingsHJuserna&eKHApp)ica"ion :a"aHREAPER ,f using Tista or Bindows #, look under& /:HUsersHJuserna&eKHApp:a"aHRoa&ingHREAPER ,n order to view the contents of this folder, you might need to turn on the option in Bindows (1plorer to 0!o$ !idden fi)es and fo)ders. The e1act number of files held here will depend again on which options and preferences you have e1ercised. (1pect at least the following& reaper.ini This is a te1t file that contains your various preferences, such as the )udio and ,D, Device preferences that we set up earlier. The Default Talues for the various Preferences ;under <ptions, Preferences? are stored here. These defaults are overwritten by your own settings when you change them. This file can be opened and edited using any te1t editor ;such as 2otepad? but it is inadvisable to do this unless you are sure that you know what you are doing. reaperCd+p)ugCins.ini reaperCvs"p)ugCins.ini reaperCreginfo.da" This file stores your product registration data These files store data regarding installed plug5ins.
!0

REAPERIs 7ns"a))ed Fo)ders and Fi)e Boca"ions
0ub :irec"ories ,n addition, you might find that you have a number of sub5directories here, such as& F2/!ains Pro5ec"1e&p)a"es 1rac%1e&p)a"es These are items that you can create yourself as an aid to managing your '()P(' pro3ects. ,f you do so, the appropriate settings are stored in these folders. The topics of F4 Chains, Pro3ect Templates and Track Templates will all be covered in later sections of this 7ser Duide ThereJs one more thing that might interest you. )ll of the settings, preference and custom files are te1t files. )ny of them can be opened and modified using a te1t editor such as 2otepad. This even applies to '()P('Js pro3ect files, with .'PP e1tension. <f course, most probably you will never need to do this, and if you do, you should always take a copy first, 3ust in case of any errors or accidents. 2ote also that you should never try to use a te1t editing program to open, view or edit any file ending in .e+e or .d)) 1ip& Nou might wish to back up your App)ica"ion :a"aHREAPER folder to CD. This will ensure that in the event of system damage you will be able to Cuickly and easily restore all your '()P(' settings and preferences. 1ip: ,t8s not difficult to install '()P(' onto a 7>P key and take it with you wherever you go: )n e1planation of how to do this follows shortly in this 7ser Duide.
1.1>
Unins"a))ing REAPER
There is no need to uninstall your current version of '()P(' before installing a new one. Qowever, should you need to uninstall '()P(' for any reason, you should follow this procedure& %. !. .. /. Click on the Bindows 0"ar" button, then A)) Progra&s, then REAPER then Unins"a)) REAPER. Bhen the '()P(' 7ninstall Bi9ard is displayed, click on Unins"a)). Bhen the uninstall process is finished, click on /)ose. Bhen prompted, choose Les if you wish to see which files have been left on your Qard Drive, otherwise choose 3o.
1ip: ,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 re is reinstalled.
!F

1.1? Running REAPER on a F)as! :rive
Nou can install '()P(' on a 7>P flash device, or other e1ternal drive. This ensures, for e1ample, that if you are going to be away from home or your normal workplace, you can take your 7>P >tick ;or whatever portable device you may have? with you, plug it in on any PC, and away you go. Pefore you can install '()P(' on a flash drive, it must first be installed on your hard drive. Bhen you then install '()P(' to an e1ternal device in this way, all your settings, preferences etc are also migrated.
E+a&p)e
%. ,nsert your e1ternal device into an available 7>P port on your PC. ,f necessary use Bindows (1plorer to note its drive letter. This will depend of course on what hard drives, DTD burners, etc you have already installed. Click on the Bindows 0"ar" button, then A)) Progra&s, then REAPER, then 7ns"a)) REAPER "o U0, 8ey or Re&ovab)e *edia. This causes the following window to be displayed&
!. ..
/. E. G.
Type the drive letter followed by a colon ;for e1ample, E:? and press En"er. Bait while the various files are copied. There are a lot of files and this might take Cuite a few minutes ;see tip below?. Bhen the process is complete, you will see a message displayed LPress any key to continueKM. Press the space bar ;or any other key? and the process will be complete.
2ote that this process will not copy your T>T or Direct4 plug5ins to the Flash Drive. Nou will need to manually copy and install any of these that you may reCuire. 1ip: Nou can speed this process up considerably if before commencing this installation you first remove from your /:HProgra& Fi)esHREAPERH/o)or 1!e&es folder those color schemes that you do not use. Nou can always later reinstall '()P(' to your hard drive to restore these.
1o Run REAPER fro& "!e F)as! :rive

%. !. .. ,nstall the Flash drive in a 7>P !." port on the computer. <pen Bindows (1plorer and display the '()P(' folder of your Flash Drive. Double click on reaper.e+e
."

1.1= REAPER 0"ar" *enu 'p"ions
ost commonly you will probably wish to start '()P(' by simply double5 clicking on your Bindows desktop shortcut. This will cause '()P(' to be started in accordance with your e1isting preferences and settings. Qowever, for times when you do not wish to do this, you should also be aware of other options available from the Bindows 0"ar" menu. Click on the 0"ar" button, then A)) Progra&s then REAPER to be presented with a flyout menu of choices. The main choices are summari9ed in the table below& *enu /o&&and 7ns"a)) REAPER "o U0, %ey E+p)ana"ion 7se this to install '()P(' to a Flash drive or similar device. This is discussed in detail earlier in this section. The use of Rea*o"e is beyond the scope of this 7ser Duide. Qowever, you can read an overview in >ection !%. >tarts '()P(' normally according to your settings and preferences. >tarts '()P(' with a new pro3ect file instead of opening the last used pro3ect file. >tarts '()P(' and resets all settings, options and preferences to the factory defaults. <pens '()P(' as a 'eBire slave. This is beyond the scope of this 7ser Duide, but is discussed in overview in >ection !%. >tarts '()P(' and opens the )udio settings page of your Preferences settings. Displays Ricense information. 7ninstalls '()P('. ,f you need to uninstall '()P(' for any reason, you should always use this method. <pens the te1t file displaying a history of new features and changes introduced in each version of '()P('.
Rea*o"e 0)ave
REAPER REAPER Ecrea"e ne$ pro5ec"F
REAPER Erese" configura"ion "o fac"ory defau)"sF REAPER ERe(ire s)ave &odeF
REAPER E0!o$ audio configura"ion on s"ar"upF REAPER Bicense Unins"a)) REAPER
(!a"sne$."+"
.%

1.1@ REAPER 0"ar"up 1ips
Py default, '()P(' opens with the last used pro3ect. )s you will see later, you can permanently change this behavior if you wish. ,n addition, you can use hot keys when starting '()P(' to override the default settings. <o" 8eyEsF 0!if" ;while starting '()P('? /"r) 0!if" ;while starting '()P('? Ac"ion <pens '()P(' without loading last pro3ect. <pens '()P(' without loading any default pro3ect template.
1.1A
REAPER Fi)e 1ypes
Rike any other software program, '()P(' creates a series of files that it uses to store your work. The main file types and their purpose are described in the table below, along with other useful information. Fi)e 1ype .RPP '()P(' Pro3ect File E+a&p)e ,rad 0uc%s.RPP E+p)ana"ion This file is the core of your pro3ect. ,t holds all the information about your tracks and their settings. .'PP files are stored in te1t format and can be opened and e1amined using any te1t editor. ,n general, however, this is not recommended practice, unless you are encountering a serious issue with the file and you need to e1amine this. .RPPCba% Pro3ect Packup File ,rad 0uc%s.RPPCba% (ach time you resave your pro3ect file, the previous version is renamed and saved with the .'PP5bak e1tension. This ensures that if you get into difficulty, you can recover your pro3ect from its previous state by opening the pro3ect backup file. To do this, simply double5click on the backup file name in Bindows (1plorer. This will cause '()P(' to open with the backup file as a new file, which you can then save. .RPPCU3:' 7ndo Qistory File ,rad 0uc%s.RPPCU3:' This optional file type will be created if you select the option to save your undo history with your pro3ect files. This option is included in the Undo 0e""ings section of the Genera) settings in your 'p"ions9 Preferences window. This topic is e1plained more fully later in this guide. )s long as you do not delete this te1t file, you will be able to restore your pro3ect at will to any earlier state, even if that is a state that e1isted days, weeks or even months earlier. .reapea%s '()P(' Peaks File .reapinde+ '()P(' Peaks File Gui"ar.$av.reapea%s Nour reapeaks files contain the information necessary to enable '()P(' to draw the waveforms etc. on your media items. These files also contain information about your individual media items.
Gui"ar.$av.reapinde+
.!
2 C REAPER Pro5ec" ,asics 2

2.1
REAPER Pro5ec" ,asics

'pening an E+is"ing Pro5ec"
To open any e1isting '()P(' Pro3ect File, use the Fi)e9 'pen Pro5ec" command, or the keyboard shortcut /"r) '. )s with other Bindows )pps, you will need to navigate to the appropriate folder to find your pro3ect. Pro3ects that have been used recently can more easily be opened using the Fi)e9 Recen" Pro5ec"s command. This causes a list of up to the last %"" recently used pro3ect files to be displayed. Nou can then select any file from that list. 1ips: %. Nou can determine the number of files displayed on the Recen" pro5ec" )is" by changing the setting under the Genera) category on the 'p"ions9 Preferences screen. !. <n the same screen, you can also specify whether or not you want the most recently used file automatically loaded when '()P(' is started. 7se the Boad Bas" Pro5ec" option for this. .. <n the same screen you can also specify whether you want to Au"o&a"ica))y c!ec% for ne$ versions of REAPER when '()P(' is started. These three items are shown on the screen below.
3o"e: To enhance print contrast, some of the illustrations used throughout this 7ser Duide have been created using some minor modifications to the '()P(' . default scheme. This has been done usually in order to help you understand the point of the illustration.
..

2.2 Pro5ec" 0e""ings
(very '()P(' pro3ect has a number of settings that can be defined and changed to meet the reCuirements of each individual pro3ect. 1ip: The e1amples shown in this section use the pro3ect file A)) 1!roug! 1!e 3ig!".RPP which is supplied with this 7ser Duide. ,t might help you to keep that pro3ect open while you are using this documentation. Take a copy of this file and work with that. Nou will then be able to e1periment freely without fear of damaging any of your own important pro3ects. The Pro3ect >ettings dialog bo1 is accessed by choosing the Fi)e9 Pro5ec" 0e""ings command, or by using the keyboard shortcut A)" En"er. The dialog bo1 has three pages of settings 5 Audio 0e""ings, Pro5ec" 0e""ings and 3o"es.
Audio 0e""ings
These include& Path to store pro3ect files. ,f you leave this blank, '()P(' will use the same folder as the pro3ect file. Pro3ect >ample 'ate 'ecording format ;typically B)T or P., but ),FF, FR)C, <DD Torbis and BavPack and others are also available? >ettings and specifications for chosen recording format A e.g. for B)T files this includes Pit Depth. Default method and parameter to be used for Pitch >hifting. Be8ll deal with this topic later. Preferred media format when media items are rendered, for e1ample by applying F4 or gluing. These are topics which we8ll get to later. For now, 3ust leave this option unselected.
Pro5ec" 0e""ings
These include& Pro3ect beats per minute and time signature. ethod for setting the pro3ect timebase 5 essentially you have a choice of Time, Peats ;position, length rate? or Peats ;position only?. ,tem i1 Pehavior. This 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 mi1ed, or for the newer item to always replace the older item. Preferred Frame 'ate. Pro3ect start time. Reave this at its default setting for now. Rater you8ll be shown why and how you may wish to change it. The option to synchroni9e the pro3ect with the timecode of an e1ternal device. The option to limit pro3ect length and recording time.
./
2 C REAPER Pro5ec" ,asics

The option to specify the pro3ect start time. The option to allow feedback in routing. Feedback routing can be useful for some advanced mi1ing activities, but it is not without its risks. ,f you are in any doubt, do not select this option. The option to automatically mute or clip the aster <utput if volume e1ceeds a specified level. >electing this option can help prevent accidental damage to your audio device and*or speakers. >pecifying a default pan law 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.
,f you are new to digital audio, you probably donJt need to worry about pan laws too much. Put if youJd care to know more, read on:
Unders"anding Pan Ba$s

Panning laws have their origin in analog mi1ers. Bith these devices, any linear gain increase in one channel accompanied by a linear gain decrease in the other channel had the result that at the centre position the sum total of the two channels was greater than if the signal was panned full left or full right. Tarious techniCues were introduced to compensate for this. Pan laws are used to effectively mirror these techniCues in the digital world. ,n short, a pan law of "db will give you the gain described above. ) pan law of A.db will compensate for that gain but will result in a centred mono or stereo file playing back .dP Cuieter than its original level. For further information about panning laws, go to http&**www.harmony5central.com*articles*tips*panningHlaws* 3o"es This is a very handy section that lets you record any notes, comments or information that you would like to be included with your pro3ect file. Nou can specify that the notes should automatically be displayed each time the pro3ect is opened. 1ip: Nou can save all these settings as the defaults to be used for future new pro3ects. <f course, for any individual pro3ects you can over5write your defaults.
.E

2.3 :irec"ing Audio 'u"pu"
This section introduces you to one of the most important core functions of '()P(' A Rou"ing. 'outing is the means by which you ensure that your media ;audio and*or ,D,? are directed to where you want them to go, so that your pro3ect can be heard e1actly as you want it to be heard. 'outing can be very simple or e1tremely comple1 A and anything in between. This section introduces you to basic routing concepts. ore comple1 routing options will be covered later in this >ection, also in >ections / and %#, and elsewhere. (ach track includes an 7#' ,u""on in its panel toolbar. >hown here, it is the second left of the track control icons ;buttons?. Clicking that button causes the routing for that track to be displayed. To close the Track 'outing window, either press the Escape key, or click on the little 2 in the top right corner of the window, or simply click anywhere outside the window.
2.>
1!e 1rac% Rou"ing (indo$
The e1act contents of your Track 'outing window will vary according to your pro3ect structure and your D)B hardware setup ;e.g. sound card and audio devices, ,D, devices etc?. >etting up these devices is covered in >ection % of this 7ser Duide.
Depending on the nature of your pro3ect, therefore, your display should be similar to that shown above, but not necessarily identical. 2otice in particular& *as"er # Paren" 0end A (nabling this ensures that the trackJs 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 % ;below?. ,f in doubt, leave this item enabled. later you will be shown some e1amples of routing where this should be disabled. 0ends A for the time being, we are not using >ends& these will be introduced later. 2otice, however, that output can be routed via a >end from any track to any others. This topic will be covered later. Audio <ard$are 'u"pu"s A in addition to ;or instead of? directing output to your aster Pus, you can also direct output of any track directly to Qardware <utputs on your audio device. ,f your audio device has multiple outputs, this can be useful, for e1ample, for creating a separate headphone mi1, or as series of separate headphone mi1es. *7:7 <ard$are 'u"pu" A 7se this option to direct icrosoft D> Bavetable >ynth. ,D, output to an e1ternal device or to the
Receives A again, for the time being we will not be using these.
.G

2otice ;picture below? that when you create a send, you are automatically presented with volume and pan faders which can be used to control this. Nou can also specify whether to send audio output, ,D, output, or both.
Bhenever you select any listed track, audio hardware output or ,D, device to be used for a trackJs routing, controls such as Revel and Pan are automatically added to this interface.
Bhen you create a new pro3ect, 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. Qowever, understanding '()P('Js routing capabilities will almost certainly enable you at some stage to get more benefits from the program, including a more efficient use of your D)BJs hardware resources ;such as CP7?. The illustration below shows an e1ample of the Track 'outing Bindow for a track for which both sends and receives have been created. Nou will be shown how to do this later in this section and elsewhere in this 7ser Duide.
)pproach track routing gently at first& it is a very powerful feature of '()P('. The main body of this 7ser Duide will take you thru the basics of track routing. )fter you have mastered these, you will find some slightly more comple1 e1amples later in this 7ser Duide.
.#

1ip: Nou can use the Vie$9 0!o$ Rou"ing *a"ri+ command ;)lt '? to display a summary table of your Pro3ectJs Track 'outing. ore about this later:
Det to know the routing matri1: Nou will find it to be one of the most useful features of '()P('.
2.?
1!e 1ranspor" ,ar
,f the Transport Par is not visible in your '()P(' window, use the Vie$9 0!o$ 1ranspor" command to display it, or use the keyboard shortcut /"r) A)" 1 to do this. The Transport Par might appear as a floating window inside '()P(', or it might be docked 3ust below your track control panels. )t this stage, this does not matter. The main Transport Controls ;from left to right? are as follows& Func"ion Re$ind "o s"ar" of pro5ec" P)ay 0"op a" curren" posi"ion and &ove edi" cursor 0"op and re$ind "o $!ere p)ay )as" s"ar"ed Eedi" cursorF Go "o end of pro5ec" Record 1ogg)e Repea" E$!en a )oop !as been definedF 1i&e Ecurren" posi"ion of "!e Edi" /ursorF Pelow the control buttons is displayed a Ra"e /on"ro) Fader which can be used to speed up or slow down playback. To the right of that are shown the Pro3ect Peats per inute setting and the start and end positions of any current time selection. Time and loop selection will be covered later in this 7ser Duide. There are a few more items on the transport bar which we8ll get to later. <ther useful Transport Control keys are listed in the table that follows. :efau)" 8eyboard 0!or"cu" ( 0pace /"r) 0pace 0pace MM End /"r) R R
.0

Func"ion Go bac% a )i"")e Go for$ard a )i"")e P)ay E$i"! )oop se)ec"ion s%ippingF :efau)" 8eyboard 0!or"cu" Ctrl Reft Ctrl 'ight )lt >pace
'ight clicking over the Transport Par displays a conte1t menu. This may seem slightly intimidating at first. Be8ll get to the more advanced stuff later, but for now 3ust notice that there are menu options available to& >elect your preferred time display format. Dock or 7ndock the transport from the ain Bindow.
0crubbing The top of the edit cursor is marked by an upside down triangle. Bhile your pro3ect is playing, you 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 0!if" key while you do this. ,f you do this when the pro3ect is not playing, it will have the effect of LscrubbingM your audio. >crubbing will be e1plained in a later section.
2.=
1!e ,ig /)oc%
7se the Vie$9 0!o$ ,ig /)oc% command ;or press A)" /? to toggle on and off the display of the Pig 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 Pig Clock gives you a conte1t menu of options, including changing the display format.
2.@
1rac% /on"ro)s
,f you play the pro3ect file A)) 1!roug! 1!e 3ig!".RPP you will notice that e1actly 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. ThatJs because no ad3ustments have been made to the Tolume or Pan controls for these tracks. The larger fader ;to the left? is used to ad3ust a trackJs volume, the smaller one ;to its right? ad3usts the panning, sending the signal more to the left speaker or the right speaker as preferred. To ad3ust these ;or any other faders in '()P('?, use any of the following methods& Click and hold down the left mouse button over the fader, then drag in the direction reCuired, releasing the mouse when finished. Qover your mouse over the fader, and use the >croll Bheel to ad3ust the level down*up. Click on the fader, then use /"r) :o$n and /"r) Up to ad3ust the level down*up.
.F

1ip: To audition possible changes, hold down the )lt key while dragging the fader with the mouse. Bhen you release the mouse it will then return to its original position. This can be useful if you need to raise the volume momentarily, perhaps to listen out for a glitch or a phrase. 1ip: To perform the same operation on more than one track, hold down the /"r) key while you click on the Track control panel or track number for each track. Then release the /"r) key. )ny fader or other movement will be applied to all selected tracks. The three rightmost buttons on each trackJs control area have these functions& P!ase /on"ro) *u"e 0o)o Toggles Phase status ;normal*inverted? for track or all selected tracks. Toggles ute on*off for selected track ;or all currently selected tracks?
Toggles >olo on*off selected track ;or all currently selected tracks?
2otice that by default, track 0o)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. Nou can also change the pan )a$ for any individual track. 'ight5clicking over the trackJs pan control fader opens a window where you can select from the list or type in your own reCuired pan law for that track. 2ote that a setting higher than 9ero will cause the signal8s audio strength to be boosted as it is panned.
2.A
0e""ing "!e Pro5ec" 0"ar" 1i&e
Bith many pro3ects you will find that you have a few seconds of recorded silence before the program material ;instruments and vocals? actually start. This can create two annoying problems& ,t means that times shown along the timeline and on the big clock do not accurately represent the time within the song. Bhen you go to the start of the pro3ect, there are always a few seconds of silence to be played before you reach the start of the song.
,n the e1ample shown below the actual start of the song is at "&"/.0.G. Be want to reset this point to Sero.
/"

This is how it is done& Place the cursor at the point that you wish to mark as the start of the song 5 in this e1ample this will be "/.0.G into the pro3ect. Press A)" En"er to display the Pro5ec" 0e""ings window. >elect the tab labelled Pro5ec" 0e""ings. Click the button labelled 0ub"rac" cursor posi"ion fro& s"ar" "i&e ;see right?. '()P(' will automatically enter the correct position into the Pro5ec" s"ar" "i&e bo1 for you. Click on '8 to close the Pro3ect >ettings interface. To mark this point, press the letter * on your keyboard. This creates a marker on your timeline labelled 1. Be8ll have a lot more to say about markers in some of the later chapters of this 7ser Duide. The position of the marker is now set to : . by pressing 1 on your keyboard ;see below?. and you can 3ump straight to this point at any time
/%

2.; 3E(4 *u)"ip)e Pro5ec" 1abs
'()P(' lets you keep more than one pro3ect open at the same time, using multiple pro3ect tabs. This makes it easy for you to 3ump between different pro3ects if you are working on more than one song, or to move or copy media items ;audio and*or ,D,? from one pro3ect to another. To create a new pro3ect tab when you already have one file open, simply use the Fi)e9 3e$ Pro5ec" 1ab command ;or press /"r) A)" 3?. ) new tab will be opened ;labelled Unsaved?, but the previous pro3ect will also remain open on a different tab. Nou can 3ump between pro3ects simply clicking on the tab ;see below?.
To open a file in an e1isting pro3ect tab, simply select that tab, then use the Fi)e9 'pen Pro5ec" command in the usual way. To open it in a new pro3ect tab, simply select this option from the dialog bo1 when opening the pro3ect. Nou may have as many pro3ects open as you wish ;see below?.
Nou can right click over any pro3ect tab to show the pro3ect tab menu. The commands are& 3e$ Pro5ec" 1ab, This inserts another new tab. /)ose /urren" Pro5ec". Closes the pro3ect currently open in that tab, and the tab with it. Nou can also do this by simply clicking on the 2 at the right hand end of the pro3ect tab. A)$ays 0!o$ Pro5ec" 1abs. This command can be toggled on and off. Bhen on, pro3ect tabs will always be shown, even if only one pro3ect is currently open. Run ,ac%ground Pro5ec"s. This allows you to play the pro3ect in one tab while working on another. Run 0"opped ,ac%ground Pro5ec"s. This will commence playback of pro3ects in tabs other than the currently selected one. 'ff)ine ,ac%ground Pro5ec" *edia. This sets to offline the status of media items in all tabs other than whichever is currently active. 1ip: Bhen using multiple pro3ect tabs, you can use the Fi)e9 /)ose A)) Pro5ec"s command to close all open pro3ects.
/!

2.1 3aviga"ion and Noo&ing
) '()P(' Pro3ect can be navigated using the mouse and*or the keyboard.
3aviga"ing $i"!in "!e 1rac% /on"ro) Pane)

The following keyboard shortcuts can be used to navigate within the Track Control Panel& 8eys"ro%e /"r) A)" :o$n /"r) A)" Up :efau)" Func"ion Do to ne1t track. Do to previous track.
Ad5us"ing Pane) (id"!

To ad3ust 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.
Ad5us"ing 1rac% <eig!"

Ac"ion /)ic% and drag &ouse up#do$n on )o$er "rac% boundary <o)d A)"9 c)ic% and drag &ouse up#do$n on )o$er "rac% boundary <o)d /"r)9 c)ic% and drag &ouse up#do$n on )o$er "rac% boundary Func"ion )d3ust height of single track. )d3ust height of all selected tracks. )d3ust height of all tracks.
1ogg)ing 1rac% <eig!"

The following mouse and keyboard shortcuts can be used to ad3ust the track height for all tracks in a pro3ect& 8eys"ro%e O ;this is the key immediately to the left of 1, usually directly above the 1ab key?. P ;on most keyboards, this is the 0!if" key in combination with the O key?. : ;on most keyboards, this is the 0!if" key in combination with the 1 key? Q ;on most keyboards, this is the 0!if" key in combination with the 2 key? :oub)e c)ic% on ver"ica) scro)) bar :efau)" Func"ion Toggle between normal track height and minimised track height, all tracks Toggle between normal height and ma1imising currently selected track. (1pand height of selected tracks, minimise all others. Press again to restore all tracks to same height. inimise all tracks. Toggles height of all tracks between minimised, normal and ma1imised.
1ip& Nou can change any of the shortcut key assignments if you wish, and also create additional keyboard shortcuts of your own. This is done using the Ac"ion Bis" Edi"or. Nou will be shown how to do this in a later section of this 7ser Duide.
/.

Noo&ing 7n and 'u" $i"! "!e 8eyboard
The following keyboard shortcuts can be used for 9ooming within a pro3ect& 8eys"ro%e Page :o$n Page Up /"r) 3u& Pad R /"r) Page :o$n C ;the minus sign? R ;the plus sign? 0!if" Up 0!if" :o$n :efau)" Func"ion Soom <ut vertically Soom ,n vertically Soom to current selection Soom <ut to entire pro3ect length Soom <ut hori9ontal Soom ,n hori9ontal Soom ,n media peaks Soom <ut media peaks
0cro))ing 7n and 'u" $i"! "!e 8eyboard

The following keyboard shortcuts can be used for scrolling within a pro3ect& 8eys"ro%e A)" :o$n A)" Up A)" Bef" A)" Rig!" :efau)" Func"ion >croll Tiew down >croll Tiew up >croll Tiew left >croll Tiew right
1ip: Pressing the F1 key will cause a complete list of current keyboard shortcut assignments to be displayed, including any shortcuts you have defined yourself. 1ip: To view and print a list of shortcut keys, use the <e)p9 8eyboard 0!or"cu"s command.
Noo&ing and 0cro))ing $i"! "!e *ouse$!ee)

The mousewheel can also be used for 9ooming in and out when you are navigating a pro3ect file. The table below summarises how the mouse wheel behaves. *odifier 8ey ,e!avior Qori9ontal Soom /"r) A)" /"r) A)" Tertical Soom Qori9ontal >croll Tertical >croll
,f you wish to change these mousewheel assignments, you can do so using the Ac"ion Bis" Edi"or. This topic will be covered in a later section of this 7ser Duide.
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2.11 3E(4 <iding 1rac%s
)ny selected tracks can be hidden from either the track view or the mi1er view ;but not both at the same time?. >imply do this& %. !. .. ,n either the track control panel or the mi1er panel, click on the track number for the first track in the selection, then use control click on the other track numbers to build the selection. 'ight click over any track number in the selection to display the conte1t menu. Deselect either 0!o$ 0e)ec"ed 1rac%s in 1rac% Bis" or 0!o$ 0e)ec"ed 1rac%s in *i+er.
)ny hidden tracks can be restored to the view where it is hidden simply by selecting that track in the other view and on that menu changing whichever 0!o$ 0e)ec"ed 1rac%s option is currently disabled ;that is, not ticked?.
2.12
Using "!e 3aviga"or
The '()P(' 2avigator shows you an overview of your pro3ect. ,t can be useful to display this when you have 9oomed in closely on an area of your pro3ect. To display the 2avigator, choose the Vie$9 0!o$ 3aviga"or command. The keys /"r) A)" V can be used to toggle the 2avigator display on and off. Nou can also use the 2avigator window to scroll thru your pro3ect. >imply position the mouse over the bo1 within the navigator window that represents the on5screen area of your pro3ect. 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 3aviga"or are& *e"!od <o)d do$n rig!" &ouse bu""on9 c)ic%9 drag and re)ease Bef" c)ic% &ouse /"r) Bef" /)ic% *ouse$!ee) Resu)" Define new area to be displayed in '()P(' workspace. 'eposition rectangle and workspace display area. 'eposition and relocate play cursor. 7se as in workspace to scroll and*or 9oom.
/E

2.13 0e)ec"ions and Boops
<ften you will want to work with 3ust a part of your pro3ect for a while. ,n order to do this, first check the 'p"ions menu to see if Boop Poin"s Bin%ed "o 1i&e 0e)ec"ion is enabled. ,f it is enabled ;ticked? then making a time selection and defining a loop are the same thing. ,f it is disabled ;not ticked? then making a time selection and defining a loop become two different things. Bhichever is the case, you can define your loop area by clicking and dragging along the timeline. >top the playback at or near the point where you want your loop to begin ;or click your mouse in the background area to move the (dit Cursor there.
Place your mouse over the 1i&e)ine ;3ust above the first track?, then click and drag along the timeline, releasing the mouse to define the e1act area that you want to loop. The effect of this is illustrated above. 2otice 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. >napping will be discussed in detail in a later section, but for now you can use the shortcut keys A)" 0 to toggle this feature on and off.
1ip: To set the loop selection to match a media item, hold /"r) 0!if" while you double click on that item. 2ow when you play the pro3ect,provided that the loop ;toggle repeat? icon on the transport bar has been engaged, it will replay over again the area selected for your Roop. This is known as the 'epeat Function. ,f loop points are linked to times election, the start time, finish time and duration of the selection are also shown on the 1ranspor" ,ar. ,n any event, pressing the R key toggles this 'epeat Function on and off. There is also the option ;under 'p"ions9 Preferences on the P)aybac% page? 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, 3ust press the Escape key. ,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 e1ample 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 Noo& 0e)ec"ion. Nou can also use this menu to change the units used on the timeline A for e1ample, inutes, easures, >econds and >amples.
/G

Fewer than half of these commands are shown in the illustration below 5 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 7ser Duide, as the need arises. These are features that you are likely to find useful when editing your files.
1ip& 2otice that where a keyboard shortcut is available for any command, that shortcut is displayed on the conte1t menu. Nou will find that learning the keyboard shortcuts for those features of '()P(' that you use most will save you a lot of time. ,ncidentally, to 9oom out of a time selection and restore a whole pro3ect length to view, press /"r) Pg:o$n.
3aviga"ing by Ju&ping
Nou can 3ump to any point along the timeline using the Vie$9 Ju&p 1o command, or by pressing the keyboard shortcut for this command, /"r) J. ,n specifying the location to 3ump to, you should use the same format as is used on the timeline. ,n the e1ample used here, the timeline displays easures and below it inutes and >econds. Nou could therefore use either format, e.g. =?.1 or 2: 3.
2.1>
7"e& 3a&es9 ,u""ons and 7cons
Depending on various preference settings, you may ;or may not? see your item names together with a number of icons ;or buttons? displayed either above the media item or even on the media item itself. )n e1ample of this is shown here. Don8t worry for now about what they are, or if on your system they aren8t yet visible. Be8ll get to these when we look at editing media items.
/#

2.1? *anaging 1i&e and Boop 0e)ec"ions
,n the last section you learnt how to use your mouse 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 'p"ions9 Booped poin"s )in%ed "o "i&e se)ec"ion setting. )s you progress thru this 7ser Duide, you will come to see that time selection plays an important role in '()P(', for e1ample when it comes to editing your media items. NouJll probably find at first that itJs too easy to make a mistake with the mouse. Nou can find yourself perhaps selecting too large an area, or else missing part of the area that you intended to select. 1o &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 e1tends the selection left, dragging right shortens it. Dragging right from the finish of the selected area e1tends it to the right, dragging left shortens it. 1o &ove a )oop se)ec"ion, hold the mouse over the selected area on the time line, then hold down 0!if" while clicking and dragging the mouse left or right. There are also several keyboard shortcuts you can use for managing 1i&e 0e)ec"ions, summarised below. ,f looped points are linked to the time selection, then the loop area will also be modified. 8eys"ro%e 9 Eco&&aF . Eperiod or fu)) s"opF /"r) 9 /"r) . /"r) A)" 9 /"r) A)" . 0!if" 9 0!if" . /"r) 0!if" / Esc :efau)" Func"ion 2udge (ntire Time >election left a little. 2udge (ntire Time >election right a little. (1tend Time >election to left by nudging left edge left a little. (1tend Time >election to right by nudging right edge right a little. >hrink Time >election from right by nudging right edge left a little. >hrink Time >election from left by nudging left edge right a little. ove Time >election left by time selection length. ove Time >election right by time selection length. Copy portions of selected media items in Time >election. 'emove Time >election.
,n addition, if you wish you can use the keyboard rather than the mouse to define your time selection in the first place. First you need to position the cursor at either the start or the end of the loop, then use one of these& 8eys"ro%e 0!if" Bef" Arro$ 0!if" Rig!" Arro$ :efau)" Func"ion Drag cursor to the left and create time selection. Drag cursor to the right and create time selection.
The following keystrokes can be used to 9oom when you are working with a time selection& 8eys"ro%e /"r) PageUp /"r) Page:o$n :efau)" Func"ion Soom to Time >election. Soom back to Pro3ect.
1ip: ,f you are unable to position your cursor e1actly where you wish when creating a loop selection, it may be that you have snapping enabled. A)" 0 will toggle snapping status on and off.
/0

2.1= 1rac% F2 ,asics
Track F4 ;T>T and Direct 4 as well as T>Ti and D4i? can be added to any track by directly inserting the F4 into the F4 Bindow for the reCuired track. ,n some programs, these are known as track inserts. ) good selection of F4 plug5ins is supplied with '()P(', including $esusonic and Cockos effects. Be8ll be taking a closer look at many of these individually later in this 7ser Duide. For now, let8s 3ust focus on some general aspects of how F4 fit in to the '()P(' scheme of things. To use any of these F4, simply follow this procedure&
%. !. .. /.
Click on the F4 Putton in the Track Control Panel of the track to which you want to add the F4. This causes the )dd F4 window for that track to be displayed. >elect a category, e.g. )ll Plug5ins, D4, T>T, $>, Cockos. )ll available F4 in that category will be listed. Double click on the name of the reCuired F4. )n e1ample is shown below. To add more F4, click on the Add button within the Track F4 window, then repeat steps ! and . above.
3o"e: Bhen you add any plug5in to any track8s F4 chain, that plug5in will then be displayed in the F4 Prowser8s Recen")y Used F4 folder.
/F

2.1@ Using "!e 0upp)ied F2 Prese"s
Tery often you will wish to use some of the e1cellent F4 that are shipped with '()P(' to improve the sound of your tracks. The use of these F4 is a huge topic. Nou will find many e1amples in Chapters %G and %# of this 7ser Duide. For more detailed information and more advanced e1amples, you should consider obtaining a copy of Rea*i+: ,rea%ing "!e ,arriers $i"! REAPER which is available from the '()P(' Pookstore at http&**stores.lulu.com*store.php+f)cct,D-%.#/#0/
Qowever, as a means of getting started you might wish to e1plore some of the presets that come with these plug5ins. For e1ample, /oc%os ReaES includes presets which as a starting point you can try on your =ick, Toms, etc. >imply display the drop down list and select the item that you want. ost of the Cockos 'ea series of plug5ins include a number of presets. Nou can e1plore these for yourself to discover what is available. <f course, you can also make any ad3ustments and changes to these that you like, in order to customise them more precisely to your own needs. )s well as the presets supplied with '()P(', you can download further sets by visiting http&**stash.reaper.fm* and following the link to F2 Prese" Bibraries. To import downloaded presets into '()P(', follow this seCuence& %. !. .. /. ,nsert an instance of the plug5in into any track. Click on the . button ;3ust below the Bearn button in the F4 Chain window?. Choose 7&por" Prese" Bibrary. 2avigate to and select the reCuired file then click on 'pen.
E"

2.1A

/on"ro))ing 1rac% F2
Change the order in which they are applied. Copy or move any F4 from one track to another. >ave ;and retrieve? any seCuence of F4 as a chain that can be easily inserted into other tracks. Pypass individual F4 or an entire F4 chain. >pecify a default set of F4 to be automatically inserted into new tracks for your pro3ect.
'()P(' provides you with a number of tools to help you manage your Track F4. For e1ample, you can&
1as% :oc% "!e F2 /!ain Ad5us" "!e va)ues for 1rac% F2 para&e"ers /!ange 1rac% F2 'rder for a "rac%
*e"!od Choose the F29 :oc% F2 (indo$ in :oc%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. Drag and drop the F4 2ame up or down within the Track F4 window. Double5click on the F4 name in the F4 Chain window. Qold down /"r), drag the F4 from the source track F4 window and drop on the F4 button for any other track. Qold down A)" 0!if", drag the F4 from the source track F4 window and drop on the F4 button for any other track. >elect the F4 name in the F4 Chain and press F!. 7ntick either the check bo1 to the left of the F4 name within the Track F4 window or the check bo1 in the top right corner of the floated F4. >elect the F4 name within the Track F4 window then click on the Re&ove button. Qold A)" while clicking on the trackJs F4 button in the Track Control Panel. ,n the Track F4 window, choose the F29 0ave F2 /!ain command. Current F4 parameter settings are saved with the chain. >elect the names of the F4 to be included in the chain ;use Ctrl key while clicking the mouse?, then choose F29 0ave 0e)ec"ed F2 as /!ain Bithin the Track F4 window, choose F29 0ave /!ain as defau)" for ne$ "rac%s.
F)oa" "!e F2 $indo$ /opy an F2 fro& one "rac% "o ano"!er. *ove an F2 fro& one "rac% "o ano"!er. Rena&e an F2 7ns"ance ,ypass an F2
Re&ove an F2 fro& a "rac%
Re&ove a)) F2 fro& a "rac%
0ave "!e curren" seTuence of 1rac% F2 as a c!ain
0ave se)ec"ed 1rac% F2 as a c!ain
*a%e "!e curren" 1rac% F2 "!e defau)" for ne$ "rac%s
E%

1as% Re"rieve an e+is"ing previous)y saved F2 /!ain *e"!od Bithin the Track F4 window, choose F29 Add F2 /!ain command, or within the TCP right5click over the F4 button and select Add F2 /!ain from the menu. Bithin the Track F4 window, choose F29 Boad :efau)" 1rac% /!ain from the menu. Bithin the Track F4 window, choose the 'p"ions9 F2 P)ugCin 0e""ings command. ,n the Track Control Pane, click on the F2 Enab)e#:isab)e toggle button. Click again to reverse this.
Boad your defau)" F2 /!ain
Access "!e F2 Preferences se""ings
,ypass a)) F2 for a "rac%
2.1;
3E(4 Ad5us"ing F2 (e"#:ry ,a)ance
<ne clever little feature of the '()P(' F4 interface is a small rotary fader that allows you to ad3ust the wet*dry balance of audio signal that is produced after the track or item is passed thru the plug5in. >ome types of plug5in 5 notably reverb and delay plug5ins 5 usually include wet*dry faders to allow you to ad3ust this balance. Bhen these are present, you can of course still use them if you prefer, but '()P('8s native wet*dry rotary fader can be applied to any plug5in. The presence of this fader is not obvious at first. ,t is located ne1t to the 7, button, near the top right corner where the current wet*dry mi1 ratio is displayed.. ,n the illustration top right this reads %""O wet and its position is indicated by the mouse cursor. Click and hold on this to reveal the rotary fader ;bottom right picture?. oved all the way to the right ;as shown here?, the plug5in is applied in the way that you would normally e1pect it to be, that is, %""O wet. oved all the way to the left, the signal will be set to "O wet ;that is, %""O dry?, effectively bypassing the plug5in altogether. Nou can of course set its position anywhere you like between these two e1tremes. For e1ample, moving the fader to the %! o8clock position would give you a mi1 of E"O wet and E"O dry.
E!

2.2 /rea"ing a :efau)" F2 /!ain
,f you have used other D)B software such as >onar, you might be used to having an (@ Plug5,n automatically inserted for you in every track. '()P(' allows you to do this by creating a default F4 chain which is then automatically applied to every new track that you create. <f course, this default chain can contain any F4 that you wish. To do this, you simply follow this procedure& <pen the F4 Bindow for any track. )dd the F4 reCuired. Bith the F4 selected, right click and choose 0ave c!ain as defau)" for a)) ne$ "rac%s from the menu.
1ip: ,f you switch the F4 to bypass mode before saving your F4 chain, then the F4 chain will be saved in bypass mode. This means that the F4 in your new tracks will not reCuire any CP7 usage until such time as you open the F4 window and enable them.
E+a&p)e
,n this e1ample, we will create a default F4 chain that consists of 'ea(@ and 'eaComp, both set to bypass mode. %. <pen any pro3ect file and add a new track at the end. Be will use this track to create our F4 chain. Click on the F2 button for this track to open the F4 Bindow. 7se the Add button to add, in turn, first ReaES E/oc%osF and then Rea/o&p E/oc%osF. ake sure that both these F4 are unticked A this sets them to bypass. >elect both these two F4. 'ight click over the selection and from the conte1t menu choose 0ave c!ain as defau)" for ne$ "rac%s ;see right?. Close the F4 window Nou can now e1it '()P(' if you wish. There is no need to save the changes to the pro3ect file. 'e5open '()P(' and open any pro3ect file.
!. .. /. E. G.
#. 0. F.
%". ,nsert a new track anywhere you wish in this pro3ect file. %%. <pen the F4 window for your new tracks. Nou should see that the two plug5ins, 'ea(@ and 'eaComp have already been inserted into this F4 bin, in bypass mode. 1ip: ,f you wish to make changes to the contents of your default F4 chain, simply repeat the process described above, this time with the changed set of plug5ins. 1ip: ,f you hold down the /"r) 0!if" keys when opening a pro3ect file then the file will be opened with all F4 set off line. This can be useful if you need to conserve CP7, or if there is a plug5in which might be causing problems.
E.

2.21 Using an F2 ,us
,f you have used other D)B software, or an analog ;tape? recording and mi1ing desk, you are probably already familiar with the concept of a ,us. The e1act meaning of the term can have several variations, but most commonly ;and in this e1ample?, a Pus is used to enable a number of tracks to share the same resource ;such as perhaps 'everb or Chorus F4?. This saves on valuable computer resources such as CP7. For e1ample, instead of reCuiring multiple instances of the same F4 in perhaps three or four tracks or more, by using a Pus you can ensure that only one instance of the F4 is reCuired. 2ote that when you use a Pus in this way& The output of each track is still directed to the >ection %. aster, as in the earlier e1ample that we e1amined in
,n addition, a portion of the signal from each track is directed to the F4 Pus. )t some stage, the output of the F4 Pus is then mi1ed back in with the original signal. Typically ;and in the e1ample shown here? this is achieved by directing the output of the F4 Pus to the aster, although other more comple1 routing arrangements are also possible.
The Pus can be inserted anywhere in the pro3ect that you like. ,n this e1ample, we will be inserting it 3ust after the last track. This e1ample uses the sample pro3ect file A)) 1!roug! 1!e 3ig!".RPP. Nou might wish to open this file, then save a copy to a new name such as A)) 1!roug! 1!e 3ig!" $i"! ,us.RPP before embarking on this e1ample. ,n this e1ample, we are going to create an F4 Pus and insert into that bus a Chorus effect. Be will then ensure that both of our guitar tracks use the chorus. Nou will see that '()P(' is different from other audio software in that it makes no inherent distinction between a Pus and a Track. The difference is determined solely by how you use it. 2otice that the illustration below shows that for a more pleasing sound, the guitar tracks have been panned somewhat to the left and right respectively.
E/

1o /rea"e "!e ,us and add "!e F2 "o i":
%. !. .. /. >elect track / ;in the Track Control Panel?. To insert a new track either choose the 1rac%9 Add 3e$ 1rac% command, or press /"r) 1 or double click in the vacant track control panel area beneath the last rack. To name this new track, click in the area where the name is to go, type F2 ,us then press En"er. To insert the Chorus F4 into this bus, click on the busJs F2 button. From the list of plug5in types, select $esusonic, then in the list of plug5ins double click on J0: Gui"ar#/!orus. Close the Pus F4 window. >elect Track E, F4 Pus. Display the ,nputs and <utputs for this track. To do this, click on the 7#' button. Click on the Add 3e$ Receive drop down arrow to display a track list, then click on 2: G"r 3ec%. Click again on the Add 3e$ Receive drop down arrow to display a track list, then click on 3: G"r ,ody. Nou should now have two receives as illustrated below, each with its own Tolume and Pan faders.
1o /rea"e 0ends fro& "!e 1rac%s "o "!e ,us:

E. G. #. 0.
2ote that for every receive there is an eCuivalent send, and vice versa. For e1ample, ,f you now open the ,*< window for Track ! or Track . you will see there is a send to track E in both of these.
*a%ing Ad5us"&en"s
Bhen you now play the song, youJll probably find that thereJs more chorus on the guitar tracks than you would like. There are four ways to ad3ust this. Nou will need to e1periment until you find what gives you the results you want& %. !. .. /. )d3ust the F4 parameters in the F4 window for the bus. ,n this case, you could lower the amount of Bet signal in the mi1. )d3ust the 'eceive levels for each of the two guitar tracks. Display the 'outing >ettings for either guitar track and ad3ust the >end levels for that track only. )d3ust output volume fader for the track called F2 ,us.
1ip: ,f you wish to disable the direct send of any track to its aster*Parent ;thereby directing its output only via any sends that you have created for this track?, a Cuick method is to hold A)" while clicking on the track8s 7' button. A)" /)ic% will also toggle the aster*Parent send back on.
EE

2.22 0ending *u)"ip)e 1rac%s "o an F2 ,us
,n the previous e1ample, we created our F4 bus by opening the ,*< window for the bus track and adding receives. )s an alternative we could have used this method& %. !. .. ,n the track control panel, select all of the tracks from which you wish to create a send. 'ight click over the ,*< button of any one track in the selection. From the menu, choose 0ends then select the track which you wish to receive the output from the sends.
2.23 *oni"oring F2 Perfor&ance

The various plug5ins that you have at your disposal can, if used wisely, help to bring your mi1es to life. The only downside is that they can impose Cuite a heavy overload on your computerJs CP7. To help you overcome this problem, you can use the Perfor&ance *e"er to closely monitor your F4 in the following ways& Nou can check how much CP7 is being used by the F4 in your various tracks and in the master. Nou can disable and enable F4 chains for individual tracks, Cuickly, easily and conveniently all together in one place. Nou can toggle on and off the mute status for your tracks, again all in one convenient place.
To display the Performance eter, press /"r) A)" P, or use the Vie$9 0!o$ Perfor&ance *e"er command.
E+a&p)e
,n the e1ample shown ;right?, you can see that our pro3ect F4 are using about %/.#0O CP7 overall, and that the aster track with 0 plug5ins is using over ..0O Nou might wish to e1amine this track more carefully, especially if your pro3ect was running closer to CP7 capacity. The first thing you could do is to e1amine the F4 for this track, to enable you to identify e1actly what the F4 on this track are doing. To do this, 3ust double click on the Track name or number in the Performance eter window. This will open the F4 chain for that track.
EG

This feature is especially useful if you have a large number of tracks in your pro3ect. Nou can use the Performance eter window to browse thru your pro3ect file, checking it track by track, without having to scroll or navigate thru Track Tiew. Nou can of course also toggle F4 Pypass for any track, selection of tracks, or all tracks in the 1rac% Vie$ or *i+er Vie$. The table below summarises these options. 7n *i+er or 1rac% Vie$9 do "!is . /)ic% "!e F2 ,ypass bu""on for any "rac%. 0e)ec" a nu&ber of "rac%s E/"r) /)ic%F "!en c)ic% "!e F2 ,ypass bu""on for any "rac% in "!e se)ec"ion. <o)d /"r) %ey $!i)e c)ic%ing F2 ,ypass bu""on for any "rac%. 7n order "o do "!is . Toggle F4 Pypass <n*<ff for that track. Toggle F4 Pypass <n*<ff for all tracks in the selection.
Toggle F4 Pypass <n*<ff for all tracks.
,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. 7n "!e Perfor&ance *e"er $indo$ do "!is . Rig!" c)ic% over any "rac% and c!oose 0!o$ F2 :ia)og Rig!" c)ic% over any "rac% and c!oose 1ogg)e F2 ,ypass Rig!" c)ic% over any "rac% and c!oose 1ogg)e 1rac% *u"e 7n order "o do "!is . <pen F4 Bindow for that track.
Toggle F4 Pypass <n*<ff for all tracks in the selection.
Toggle track mute for that track
The other menu is used mostly to select what information you want displayed in the window. 'ight click anywhere in the main Performance eter area to display this. Nou can also use this menu to move the window to the docker. 1ip: Nou can select several tracks A using /"r) /)ic% A then right click over any of the selected track numbers in the Performance eter window to Toggle F4 bypass and*or Track ute status for all tracks in the selection. 3o"e: Nou can find more information about the '()P(' Performance eter in >ection %G of this guide, Further Customising '()P('.
2.2>
3E(4 Adding Para&e"er /on"ro)s "o "!e 1/P
Nou can also add to the track control panel of any track rotary controls which can be used directly to ad3ust the values and settings for any F4 parameters in that track. The method for doing this is e1plained in Chapter F. 2ote that any such parameter controls that you create will be included in your saved F4 chains and track templates.
E#

2.2? REAPER Vie$s and (indo$s
Nou have already been introduced to working with a number of Bindows open in '()P(' A for e1ample, the i1er, the Pig Clock, the F4 Prowser, the 2avigator and the Transport. <ne glance at the Vie$ menu will show you that there are several other windows that you may use when working with '()P('. ,n this section, we will be looking at& The Performance eter& this indicates how much of your PCJs resources ;such as CP7 and ') ? is currently available. The 'outing atri1& this presents you with a handy overview of which tracks are routed to where, including any sends that you may have created. eter, use /"r) A)" P atri1, use A)" R
To toggle the display of the Performance To toggle the display of the 'outing
2.2?.1
1!e Perfor&ance *e"er
Press /"r) A)" P to view the performance meter ;see previous page?. Play the pro3ect, and observe the behavior of this Performance meter. 'ight clicking over this window displays its settings menu.
2.2?.2
1!e Rou"ing *a"ri+
The more accomplished you become at using '()P('Js routing capabilities, the more useful you will find the 'outing atri1. Press A)" R to display the routing matri1. For the pro3ect file A)) 1!roug! 1!e 3ig!" $i"! ,us it should resemble that shown right, although of course your hardware outputs will not be the same. This matri1 isnJt 3ust for show. Nou can use it to make changes to your faders, for e1ample, send levels and panning. This can be an especially convenient way of working if a pro3ect file has many tracks. For e1ample, observe the cell in the matri1 where the G"r ,ody row intersects with the F2 ,us column. This cell contains two small blobs. Py right clicking over this cell, you can cause the controls to be displayed which determine how the signal from the Dtr 2eck track is sent to the F4 Pus ;see illustration left?.
E0

0i&p)ifying "!e Rou"ing *a"ri+ :isp)ay ,f your sound card has multiple outputs, then by default, '()P('Js 'outing atri1 will display multiple permutations of paired outputs, including several that you may feel that you do not need. Consider the e1ample on the right, which uses output channel name aliasing. This matri1 shows a setup which uses a sound card with outputs. <utputs % and ! are directed to Qeadphones, outputs . and / to >tudio, E and G are currently unassigned eight, # and 0 are directed to the Control 'oom. 2otice that in cases like this, the 'outing atri1 includes combinations that you are unlikely to wish to choose, such as <eadp!ones R R 0"udio B. ,f you wish, you can prevent these from being displayed by choosing the 'p"ions9 Preferences command, then selecting the Audio settings page. This includes a /!anne) na&ing section, where you can turn off the option to 0!o$ nonCs"andard s"ereo c!anne) pairs. 2otice that if for some reason you did wish to direct your output to any non5standard pair, you could still do so by selecting each of these outputs individually on the matri1.
2.2?.3
1!e Undo <is"ory
7sing Edi"9 Undo or /"r) N to undo previous actions is a fairly standard feature of most Bindows applications. '()P(' takes this further with an Undo <is"ory window. ,t can be opened from the Vie$ menu or by pressing /"r) A)" N. ,f the preference 0!o$ Bas" Undo Poin" in *enu ,ar ;on the )ppearance page of your Preferences? is enabled, then your last undoable action will be displayed on the menu bar. Clicking on this will also open the 7ndo Qistory window. This window lists all your actions for the current work session. 2ot only can you undo your previous action, you can roll your pro3ect back to any previous state 3ust by double5clicking on that action. ,n fact, '()P('8s undo management capabilities go a lot further than this, but we8ll get to these later.
EF

2.2= :oc%ing and F)oa"ing
Too many views on the screen at once creates too much clutter. ThatJs when the Docker becomes useful. 'ight clicking over the title bar or background area of any window will cause a conte1t menu to be displayed which will offer a list of choices relevant to that window. ,n many cases, their purpose will be obvious. This menu will include the option to :oc% (indo$ in :oc%er. Bhen a series of windows are all docked, at the foot of the Docker you will see a series of Tabs, which are used to select which item is displayed by the Docker at any time. ,n the illustration below, the Docker includes three items.
2otice also that& ,f you close a Bindow, ne1t time it opens its docking status will be the same as when it was closed. That is, if a Bindow is docked when it is closed, ne1t 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 :oc% (indo$ in :oc%er option. The Docker can itself be attached to the main window or detached and floated. 'ight click over the small e1clamation mark in the bottom left corner of the Docker or on a vacant part of the docker8s tab bar and use the option to A""ac! :oc%er "o *ain (indo$ to toggle. 'ight clicking over the same area after detaching the Docker from the ain enu will also give you access to the 0e" 'paci"y feature. This can be used to ensure that when floated and not in focus, the Docker is transparent.
1ip: The keyboard shortcut A)" : can be used as a toggle to show or hide the Docker.
G"
3 C Recording $i"! REAPER 3 Recording $i"! REAPER
This chapter will take you thru everything you need to know to get started with recording in '()P('. )t the end of the chapter, you will find a helpful checklist.
3.1
/rea"ing a 3e$ Pro5ec"
To create a new pro3ect file, you can either use the Fi)e9 3e$ Pro5ec" command, or press /"r) 3. The Pro5ec" page within the 'p"ions9 Preferences dialog bo1 can be used to determine how '()P(' behaves each time you create a new pro3ect&
)mongst the most useful options on this screen are the following& 0pecify a "e&p)a"e fi)e for pro5ec". This enables you to create a pro3ect with, for e1ample, tracks, buses and routing already set up for you in your preferred fashion. This feature will be covered in detail later in this section. 'pen proper"ies on ne$ pro5ec". ,f this option is selected, the Pro5ec" 'p"ions dialog bo1 will automatically be displayed every time you create a new pro3ect. This can help ensure that you select the correct recording format and other settings that you reCuire. 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. 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 conseCuences of an unforeseen circumstance such as a power outage or a computer crash.
G%

3.2 0e""ing Audio Pro5ec" 'p"ions
)fter creating a pro3ect file, you should display the Pro5ec" 0e""ings window A A)" En"er A to ensure that you are using your preferred Audio 0e""ings. Pelow are shown two e1amples of your many options. (AV format. >uitable if your recording is intended ultimately to be published as )udio CD or DTD. The settings shown on the left would make a sensible choice when the final output is to be CD audio. )s a rule, !/ bit is preferred for recording. ,f the recording is to be finalised in DTD format rather than CD, however, you should select a sample rate of /0""" instead of //%"". >ome people prefer to use 00!"" for CD and FG""" for DTD. Provided your sound card can handle it, '()P(' lets you do this. Pe aware, however, that increasing sample rate also increases media item file si9e and slows down processing.
*P3 format. (specially suitable for distribution of your work over the ,nternet or via ,5Pod ;or similar?. The settings shown on the right make a fairly sensible starting point, though you might wish to consider raising the bit rate, perhaps to %F!, for a better Cuality outcome.
G!
3 C Recording $i"! REAPER

3.3 0aving "!e Pro5ec" Fi)e
)fter creating a file, it is a good idea to save it, using the Fi)e9 0ave Pro5ec" command, or the keyboard shortcut /"r) 0. Nou will need to specify a name for your pro3ect file. ,f you select the options to /rea"e subdirec"ory for pro5ec" and *ove a)) &edia in"o pro5ec" direc"ory ;see right?, the pro3ect and all its media files will automatically be saved into their own folder. Nou should also make sure that you get into the habit of freCuently resaving your pro3ect after making changes. The easiest way to do this is simply to press /"r) 0.
3.>
/rea"ing and 3a&ing 1rac%s
)ssuming that you have created a new empty pro3ect file, the ne1t thing you will want to do is to create a track or a number of tracks for recording. ) pro3ect can contain as many or as few tracks as you want. Nou can add tracks using the 1rac%9 Add 1rac% command or by pressing /"r) 1. )lternatively, you can simply double5click anywhere in the vacant area of the Track Control Panel. ,t is advisable to name the tracks before you start recording. To do this, double5click in the track name area and type the name. This ensures that the Bave ;or P., or whatever? file that is created when you record will be given a sensible name that matches the track. 2ote that under 'p"ions9 Preferences you can display the Recording settings page and decide your default recording path and which items are automatically included in your trackJs file names. These can be any combination of Track ,nde1 ;number?, Track 2ame, and the time of the recording. '()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, Device? on your audio soundcard. The e1ample shown here uses eight analog inputs. Pefore commencing recording, for each track you will need to& )rm the track for recording. )ssign the ,nput that is being used. Check that the sound level is right for recording. >elect a recording format other than the default. Turn input monitoring on.
<ptionally, you may also&
3o"e: Nou do not need to specify when creating a track whether it is to be a >tereo or ono track. 2otice, however, that when assigning the track input for recording, that can be either a single mono input or a stereo pair.
G.

3.?
%. !.
1o Prepare and Record 'ne 1rac%

Choose the 'p"ions9 Record &ode: 3or&a) command to make sure that Record *ode is set to 3or&a). Click on the Record Ar& button for that track ;itJs 3ust below the track number?. This will cause the trackJs T7 meter to be displayed. Click the mouse over the little arrow near the right end of the T7 meter for that track. This displays a menu ;right?. The e1act options on that menu will depend on which sound card and audio device;s? you have installed. >elect the reCuired 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 will be a *ono 7npu". )udition the sound while you ad3ust 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 A%"dP. 2ote that the recording level cannot be controlled by ad3usting the TrackJs volume fader& that controls only the playback level. Press the Record button on the 1ranspor", or use the keyboard shortcut /"r) R. To finish recording, either press 0"op on the Transport, or press 0pace9 or press the Record button again, or press /"r) R. 2ow click on the Record Ar& button for this track to LdisarmM it.
..
/.
E.
G. #.
3o"e 1& ,f you stop recording by pressing the Record button or with /"r) R, the recorded media are automatically saved. ,f you press 0pace or 0"op a dialog bo1 will be displayed which offers you the opportunity to save or delete any of your recordings ;see left?. This can be useful, for e1ample, if you have armed and recorded more tracks than you intended. 3o"e 2& '()P(' supports Lon the fly recordingM. 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. >imilarly, 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&#:isar& button to disarm 3ust that track.
G/

3.= 1o Prepare and Record *u)"ip)e 1rac%s
<f course, to prepare multiple tracks for recording, you could repeat steps %. to .. ;above? as many times as you have tracks, but that might be tedious A and besides, itJs too easy to make a mistake in selecting one or more of your audio inputs. Nou 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)B software. To avoid this problem, follow this seCuence& >elect 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. %. Display the Rou"ing *a"ri+ ;right?. ,n this e1ample, we are assuming that we are recording si1 tracks at a time. 2otice that by default, all si1 tracks are assigned to the first input. ,f you were to record now, the signal from the first input would simply be recorded si1 times: !. Click in the appropriate cells in the 'outing atri1 to assign each track an input. ,n this e1ample ;see below?, we are assuming that ,nput % is to go to Track %, ,nput ! to Track !. ,nput . to Track ., and so on. .. onitor the strength of the signals and record as before.
1ip: To insert a new track at the end of your pro3ect, you can simply double click in the Track Control Panel area, 3ust below the last e1isting track. Consider whether you wish to use the option ;Pro5ec" :efau)"s? to >et )utomatic 'ecord )rm when track selected for new tracks.
GE

3.@ 3E(4 Au"o Ar&ing 1rac%s
,f you wish, you can ensure that any individual tracks are automatically armed for recording when selected and unarmed when deselected. >imply select the track;s? 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. The button display will change accordingly ;see right?. This command can be toggled on and off. To set all tracks in a pro3ect to auto arm, right click over any track number and choose 0e" a)) "rac%s "o au"o&a"ic record ar& $!en se)ec"ed.
3.A
Recording 0"ereo 1rac%s
)t times, you may wish to record from two inputs direct to a stereo track. This might be the case, for e1ample, if you are uploading some old recorded material from audio cassette into '()P('. Py default, when you specify a stereo input for your recording, '()P(' offers you a selection of options which includes a number of unmatched pairings. For e1ample ;see right?, it would be unusual if you wanted to use inputs ! and . together as a pair for recording a stereo track. )s has already e1plained in Chapter !, you can open the )udio page of your Preferences settings and turn off the option to 0!o$ 3onC0"andard 0"ereo /!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 on the right.
3.;
Recording a 1rac%Is 'u"pu"
Bhen you record a trackJs input, you record the signal e1actly as it comes into the computer, without any F4 that are in the F4 chain being recorded with the signal. This is the method of recording that is most commonly used. <f course, you will still be able to hear the F4 being applied later when you play the track back. Qowever, with '()P(' it is also possible to have F4 applied to a signal and recorded with that signal, as the track is recorded. <f course, if you choose to do this, you cannot simply remove the F4 from the track afterwards if you change your mind. To do this& %. !. .. >elect the track, and arm it for recording as before. >elect the reCuired input as before. <pen the F4 window and insert the reCuired F4.
GG

/. E. ,n the Track Control Panel, right click on the *oni"or 7npu" button and make sure that ,nput is turned on. onitor
>till in the Track Control Panel, right click on the Ar& Record button or the VU *e"er and select the reCuired 'u"pu" ode. For audio this may be multichannel, stereo or mono but is usually likely to be *ono ;see below?.
G. #.
onitor the signal strength and F4 level. Bhen ready, record as before.
3o"e: )s well as recording with software F4 ;as in the above e1ample?, '()P(' also lets you record using an e1ternal F4 device in the same way as you might use an insert device on an analog desk. BeJll cover this towards the end of this section.
3.1
Recording "!e F2 'n 1!eir '$n
<ne real fun feature of '()P(' is that when you have set up a track to act as an F4 Pus ;see Chapter !?, you can record 3ust the F4 on its own to a separate media file ;usually B)T or P.?. This can, of course, be the output of a single F4 or an entire F4 chain. Doing this opens up all sorts of creative options later when it comes to mi1ing. To do this& %. !. .. /. E. G. >elect the F4 Pus track and arm it for recording. Nou might wish to also turn up the trackJs Receives to get a good strong signal A you can always turn down the volume when playing it back later. >et the track to onitor ,nput and chose a Recording *ode. This is likely to be 'u"pu"9 0"ereo. Play the song and monitor the signal level. 'ewind to start and press 'ecord. >top recording when finished.
1ip& ,f you do record a trackJs F4 in this fashion, you will most likely want to set the F4 to bypass mode after doing so. ,t is nevertheless a good idea to leave the F4 inserted in the trackJs F4 bin, as a record of how the F4 was produced.
G#

3.11 1rac% 1e&p)a"es
)fter you have set up a track ;or a number of tracks? for recording, you might think that you may wish to use this same track set up again in some future pro3ects. This can be done using 1rac% 1e&p)a"es.
1o crea"e a 1rac% 1e&p)a"e fro& an e+is"ing "rac% Eor se)ec"ion of "rac%sF:

%. >elect the track or tracks. !. Choose the 1rac%9 0ave 0e)ec"ed 1rac%s as 1rac% 1e&p)a"e command. .. Bhen prompted, type a template name. ,f you wish, you can select the option to 7nc)ude "rac% i"e&s in "!e "e&p)a"e. ,f so, any audio and ,D, items on the track will be included. Then click on 0ave.
1o i&por" an e+is"ing 1rac% 1e&p)a"e in"o a pro5ec":

%. From the '()P(' menu, choose the 1rac%9 7nser" 1rac% fro& 1e&p)a"e command. !. Depending on how your templates are stored, either select the reCuired template from the menu, or choose 'pen 1rac% 1e&p)a"e9 then choose the reCuired template and click on 'pen.
3o"e: )ll of a trackJs properties and settings are saved into the template, including track name, inputs and
outputs, any F4 plug5ins ;with any parameter settings, parameter modulation, and track controls?, sends and receives. Qowever, 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.
3.12
7&por"ing an E+is"ing Pro5ec"
Nou can use the 1rac%9 7nser" 1rac% fro& 1e&p)a"e9 'pen 1e&p)a"e command to import an entire e1isting '()P(' pro3ect into your current pro3ect. (verything comes in e1actly as it is in the original pro3ect file A media items, track settings, F4, routing, etc. 2ote however that items that are not track specific ;such as markers? are not imported. To do this, simply select Pro5ec" Fi)es as the File Type when the 'pen 1rac% 1e&p)a"e dialog bo1 is displayed, navigate to select the file you wish to import, then click on 'pen. The tracks from the imported pro3ect file are inserted immediately below the currently selected tracks.
3.13
Pro5ec" 1e&p)a"es
) Pro3ect Template goes further than a Track Template in that it can be used to create an entire Pro3ect File, based upon the structure and settings of the template file. For e1ample, Pro3ect >ettings ;including )udio >ettings? are saved with a pro3ect template, along with the screen layout, which views are open, how they are si9ed, whether they are docked, and so on. Qowever, unlike when creating a Track Template, you should remove the media clips and items from a file before saving it as a pro3ect template, otherwise every time the template is used to create a new file, those media items will be inserted. ;7nless, of course, there are media clips that you actually want saved into the template?.
1o crea"e a Pro5ec" 1e&p)a"e:

Bith the source pro3ect file open, choose the Fi)e9 Pro5ec" 1e&p)a"es9 0ave As Pro5ec" 1e&p)a"e command. Bhen prompted, give the template a name, then click on 0ave.
1o crea"e a ne$ fi)e based on a Pro5ec" 1e&p)a"e

Choose the Fi)e9 Pro5ec" 1e&p)a"es command, then click on the name of the reCuired pro3ect template.
G0

1o use a Pro5ec" 1e&p)a"e as "!e basis of a)) ne$ pro5ec" fi)es crea"ed:
%. !.
Choose the 'p"ions9 Preferences command. Display the Pro5ec" settings screen.
.. ,f you wish, select the option Boad 1e&p)a"e Pro5ec" $!en 0"ar"ing Up and 3o" Boading Bas" Pro5ec". /. Click on the ,ro$se button near the top right corner of the screen. 2avigate to your Pro3ect Templates folder A this will be /:H:ocu&en"s and 0e""ingsHUser3a&eHApp)ica"ion :a"aHREAPERHPro5ec" 1e&p)a"es ;where User3a&e is your user name? E. G. #. 1ip: ,f you are specifying a default pro3ect template ;such as in the above e1ample? it is a good idea to also save an empty pro3ect as a pro3ect template called E&p"y Pro5ec". Then, whenever you want to create a new file that doesnJt use your default pro3ect template, you can do so by simply choosing from the menu Fi)e9 Pro5ec" 1e&p)a"es9 E&p"y Pro5ec". 1ip: Bhen you are recording, make sure that the incoming signal is not too loud, or you can damage your recording eCuipment. QereJs what to do& %. Turn the input or gain control on your input device ;e.g. firewire device or desk? all the way do$n. !. ,f recording an instrument in5line, 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 .. )udition the instrument, gradually raising the input or gain control on your input device until it is about right. >elect the reCuired Pro3ect Template file. Click on 'pen to return to the Preferences window. Click on App)y then on '8 to close this window.
GF

3.1> Bayered Recording
The term layering refers to a recording techniCue in which two or more instruments and*or voices are recorded for the same song, but not all at once. 7sually, the tracks are recorded one at a time. )n initial track is laid down A 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 mi1 of what has already been recorded and what she is recording now. ,n order to use this layered recording method& %. !. .. Bith 'ecord ode set to 2ormal, record the initial track, as e1plained earlier. aster. )fter recording this track, make sure that the output of this track is directed to the sure also that you LdisarmM this track. ake sure that the aster is directed to whichever audio hardware outputs are connected to your headphones or headphone amp. )dd another track. 2ame it. )rm this track for recording. >elect the ,nput used by the microphone or line that is to be used to record this new track. ake sure that ,nput onitoring is turned on for this track, and that the 'ecord ,nput option is selected ;see right?. )d3ust the Tolume levels of the previously recorded track ;using the track fader? and the volume level of the incoming signal ;using your e1ternal mi1er desk or audio device, or audio device control software? until you are happy with your headphone mi1. Press /"r) R to start recording, and /"r) R again to stop when finished. )gain, disarm this track when you have finished recording on it. 'epeat this procedure for all other tracks to be layered. <f course, at step G. you can feed into your aster a mi1 of all tracks previously recorded up to that point.
ake
/.
E.
G.
#. 0.
1ip: any sound cards and 7>P or Firewire audio devices are supplied with software that can be used for input monitoring and headphone mi1ing. This is especially the case for those devices that have multiple inputs and outputs. ,f you use that software for input monitoring, then you should turn off the input monitoring option within '()P('. 1ry i" no$4 <pen the supplied pro3ect file A)) 1!roug! 1!e 3ig!".RPP and save it as A)) 1!roug! 1!e 3ig!" BALER0.RPP. Qave a go at recording another instrumental track of your choice to go into this pro3ect. )ny instrument you choose:
3.1?
'verdubbing and Punc! Recording
)t times, you might want to go back to an e1isting track to re5record a section of that track with which you are not satisfied, to correct perhaps 3ust a few notes of an instrument, or a line or two of a vocal. Punch recording makes it easier to do this. Bith punch recording, you can play back in your headphones the previously recorded track, along with any other instruments while you record. )t the point where you want recording to begin, however, the track on which you are recording will cut out, and the recording will commence. )t another point specified by you, the recording will stop, and the e1isting recording will come back in.
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3.1= Punc! Recording
%. 'ight click on the 'ecord button on the Transport Par and choose Record &ode: "i&e se)ec"ion au"o punc!.. The button display will change ;see right?. !. >elect the track and arm it for recording. .. /. ake sure that the track output is sent to the aster and that ,nput onitoring is enabled. ake sure that the aster output is directed to the audio hardware outputs to which your headphones or headphone amp is connected.
To use Punch 'ecording, follow this seCuence&
E. Click once on the e1isting media item to select it.
G. Click and drag along the background area between or below the media items to select the region that you want to be re5recorded ;see above?. #. '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 reCuired place on the timeline. 0. Press /"r) R. Nou will now hear the e1isting recording up to the start of the defined region, where you can re5record the reCuired passage. F. Bhen prompted, accept the option to save your recorded media. 2otice that your track now contains two media items, with the new one superimposed on the old
Bhat8s happened to the originally recorded passage+ Bell, it8s still there and you can still use it if you like. Nou8ll find out how when we get to look at 1a%es. 1ip& '()P(' supports the standard Bindows editing techniCues. (diting will be covered in detail in later sections, but for the time being, if you make a mistake or change your mind when overdubbing, you can use /"r) N to undo the recording or you can select the unwanted media item and use the :e)e"e key to remove it. 1ip& Don8t forget to restore normal recording mode when you have finished your punch recording.
#%

3.1@ Fades and /rossfades
'()P(' offers you the option to apply automatic crossfades and fades in and out of your recorded items. This feature can be turned on and off or customised thru the 'p"ions9 Preferences menu, Pro3ect Defaults.
Nou can select a preferred shape and duration ;length? for your fade curves. Clicking on the image of the curve ;shown above? causes you to be offered a number of choices ;see right?. ,f you prefer not to use automatic fades, set the default length to "."&""" )s you will see later, you can easily change the default fade type and*or length for individual media items.
3.1A
Recording *u)"ip)e A)"erna"ive 1a%es
'()P('Js 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& %. !. >et record mode to normal ;'p"ions9 Record *ode: 3or&a)?. ake sure that Free i"e& posi"ioning is not enabled for the tracks being recorded. 'ight click over the Track Control Panel for the selected tracks and make sure this option is not ticked. Be8ll see what this means later. 'ecord your first take of the track. 'ewind to the start then record your ne1t take. 'epeat step .. as many times as you wish.
.. /. E.
,n the e1ample shown here, an initial vocal track has been recorded, then above it two takes have been made of a vocal harmony track. 2otice the te1t displayed with the name of the media item displayed for the Qarmony To1 track. ,t begins with the te1t 1a%e 2#2.
#!

3.1; 0!o$ing 1a%es in Banes
<ptionally, when you have multiple takes, you may choose to have them displayed in lanes. This of course takes up more room on the screen, but has the advantage that it makes it easier to see for your various tracks which take is currently selected. This option is toggled on and off by pressing /"r) B or by choosing 'p"ions9 0!o$ A)) 1a%es in Banes E$!en roo&F from the ain enu.
,n the first e1ample shown below, three takes have been made of a vocal duet. For both tracks, the third take is currently selected and will be played& ,n this second e1ample, Take % has been selected for the first track and Take ! for the second track.
,n this third illustration ;below?, the tracks have been minimised, so only one lane is visible. Qowever, as long as the option to >how )ll Takes in Ranes remains active, the lanes will automatically be restored to view when the tracks are e1panded.
3o"e: Bhen 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 3oin them together as a single item. The method for doing this will be e1plained later in this 7ser Duide.
#.

3.2 (or%ing (i"! *u)"ip)e 1a%es
Bhere an item includes more than one take, you can right click over any take and use the 1a%e command to control and manage your multiple takes. The Take submenu is Cuite e1tensive 5 we8ll e1plore 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.
/o&&and
2e1t Take Previous Take Delete )ctive Take Crop to )ctive Take (1plode )ll Takes to 2ew Tracks
0!or"cu"
T >hift T
Effec"
Displays ne1t take for selected track;s?. Displays previous take for selected track;s?. Deletes currently displayed take for all selected track;s?.
)lt >hift T
Deletes all takes e1cept currently active one for all selected track;s?. Creates a separate track for each take ;see below?.
E+p)ode A)) 1a%es "o 3e$ 1rac%s differs from 0!o$ A)) 1a%es in Banes in that it lets you treat each take separately as a separate track. The picture above illustrates this. Track % consists of two takes which are shown in lanes. )fter e1ploding these takes to new tracks we have ;in addition to the original track? two new additional tracks, one for each take. 1ip: Pe careful about using the :e)e"e key when working with multiple takes. Nou might end up accidentally deleting all takes for all selected tracks. ,f you do this by mistake, you can press /"r) N to immediately undo this. 1ry i" no$4 <pen the pro3ect file A)) 1!roug! 1!e 3ig!" BALER0.RPP ;which you saved earlier? and add a vocal harmony track to this pro3ect. 7se this track to record three takes A then save the file.
#/

3.21 'ver)apping 1a%es
>ometimes when you are creating multiple takes, you will want to start recording your new take 3ust before the end of a previous take, so that the two items will overlap. ,n cases such as these, you have the option to 0!o$ over)apping i"e&s in )anes. This command is on the 'p"ions menu and can be toggled on and off. The e1ample shown below illustrates this.
,n the first picture ;right? the Vo+ <ar&y track consists of two overlapping items. ,f not for the cross5 fades, you could easily not notice that there were two separate takes there. The second picture ;left? shows the same track with the same two takes, but with the option to 0!o$ over)apping i"e&s in )anes selected.
3o"e& Bhere you have overlapping items like this you can manually ad3ust the length of the crossfade. Be8ll return to this topic in Chapter G. 3o"e& Bhen you have the 0!o$ over)apping i"e&s in )anes option selected, you might also wish to right click over one of the items and also select 7"e& 0e""ings9 P)ay A)) 1a%es from the conte1t menu.
#E

3.22 Recording *u)"ip)e Addi"iona) 7"e&s
Be have already seen how you can use '()P(' to record multiple takes on the same tracks. Rater, 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 track. )s an alternative to using multiple takes, however, you may wish to record additional items onto an e1isting track, perhaps overlapping. This is an e1ample of where the option to enable free item positioning can offer you greater fle1ibility. Py default, free item positioning is not enabled. To record e1tra items ;rather than additional takes? on to an e1isting track, follow this seCuence& %. !. >et record mode to normal ;'p"ions9 Record *ode: 3or&a)?. ake sure that Free 7"e& Posi"ioning is enabled for the tracks being recorded. 'ight click over 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. 'ecord your first item for the track. Position the cursor at the point where you wish to record the second item. 'ecord this item. 'epeat step /. as often as reCuired.
.. /. E.
E+a&p)e
,n the screen shot shown here, Track ! contains a Tocal Track and Track % a Tocal Qarmony for the first half of the song. ,n the second screen shot, the option for Free i"e& posi"ioning has been enabled for Track %. The mouse pointer shows a small handle that can be used to ad3ust the height of this media item. ,n the third screen shot, a second Tocal Qarmony has been recorded on to Track %, overlapping the original harmony. 2otice that this is not an alternative take of the first harmony, but an additional media item 3o"e& ,n the <ptions, Preferences, Pro3ect, Defaults window there is an option to make free item positioning enabled for your tracks by default.
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3.23 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 e1actly 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 recorded. RetJs take an e1ample where a vocal track has already been recorded, and we now 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 *oni"or 7npu" for this track, and make sure the output from the aster is directed to your headphones. .. 7se the 'p"ions menu to ensure that Record &ode: au"o punc! se)ec"ed i"e&s is chosen. 2otice the appearance of the 'ecord button in the transport bar changes. /. 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 7nser"9 E&p"y 7"e& command to create the empty item. 'epeat this as often as reCuired. ,f necessary, click and drag to ad3ust their e1act positions.
E. ,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. G. >elect all of the reCuired events. To do this, use the /"r) key while clicking on each in turn. )n e1ample 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 /"r) R to start recording. Bhen finished, press /"r) R again to stop. ,f prompted, accept the option to save all files. Disarm the track. 0. Nour screen should now show something similar to this&
##

3.2> Recording *7:7
Nou have a number of options for recording ,D,, depending on what eCuipment you have and how it is set up. ,n every case, however, the principle is the same& Nou will need to use either '()P('8s 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. Nou will need to create a track ;or assign an e1isting one? for your Nou will need to assign an output device for your track. Nou will need to assign a Channel for the Nou will need to turn ,nput ,D, item. ,D, recording.
onitoring on to be able to hear what you are playing.
'()P('8s Vir"ua) *7:7 8eyboard, can be played using your mouse or PC keyboard. This keyboard is displayed using the command Vie$9 Vir"ua) *7:7 8eyboard. The shortcut keys A)" , can be used to toggle display on and off.
Procedure for Recording a *7:7 1rac%

%. ,nsert a new track into a pro3ect 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 e1ample, we will be using the REAPER Vir"ua) *7:7 8eyboard. ,f this is not visible, press A)" ,. 'ight click over any key that you wish to make your centre note. <n the track you are using, right click over the Rec 7n button and make sure that onitor ,nput and 'ecord ,nput are both selected, and that you have selected the Tirtual ,D, =eyboard as the ,D, ,nput device, and that you have selected a ,D, Channel ;in this e1ample, select A)) /!anne)s?. ake sure that the TrackJs output is directed to the aster, and that the aster output is directed to the hardware audio outputs to which is attached the speakers or headphones that you wish to use when recording.
!.
..
/.
#0

E. ,n this e1ample we will use a >oftware >ynthesi9er. <pen the F4 Pin for this track. Nou will need to insert a >oftware >ynthesi9er here. Nou can use any such T>Ti or D4i synth that you already have installed. ,n this e1ample, we will be using V01i Rea0yn"! E/oc%osF, which is included with '()P('. For the time being, leave the 'ea>ynth parameters at their default settings. ;Rater in this guide you will learn more about 'ea>ynth.? Press /"r) R to start recording. Play a simple tune on the Tirtual =eyboard. 7se your mouse or PC =eyboard A for e1ample, -+cvbvc+- will play half a scale up and down. Bhen finished. Press /"r) R again to stop recording. ,f prompted, save your media item.
G.
Rater in this guide, we will see how the midi data that has been recorded can be edited using '()P('8s built in midi editor. Procedure for P)aying ,ac% a *7:7 7"e& Play the track, as you would any other. )s it plays back, you can alter the nature and shape of the sound by ad3usting the soft synth parameters. Bhen you have found a sound that you like, you can click on the . button ;indicated by the mouse cursor in the illustration, right? and then choose 0ave Prese" to name and save that set of parameters. Nour named preset will now be able to be recalled from the Preset drop down list. Nou can make and use presets in this way for all F4 Plug5ins and >ynths. 3o"e& This last e1ample demonstrates one important difference between ,D, and )udio.
Bith Audio the actual sounds made by the instrument or voice are recorded. ,t is possible to use real time F4 like (@, Compression and 'everb to alter how the audio item sounds when it is played back, but the audio item itself stays the same. Bith *7:7, 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. Thus, by changing the parameters of the synthesi9ers settings A or even by changing the synthesi9er A we are able to produce a completely different sound. 3o"e 7nlike some other D)B programs, '()P(' makes no artificial distinction between a )udio track. ,D, items and )udio items can be combined in the same track. ,D, track and an
#F

*7:7 Recording *odes Bhen recording ,D,, you should select one of five recording modes. ,n the above e1ample, we used Record 7npu". This mode will record new items as a new take over any e1isting items. Qowever, in addition there are& Record *7:7 overdub in se)ec"ed i"e&s & this will add new notes $i"!in e1isting items while preserving what is already there. Record *7:7 rep)ace in se)ec"ed i"e&s& from the moment you start playing until you stop recording, e1isting ,D, notes within the item will be removed and your new material recorded in its place. Record *7:7 "ouc!#rep)ace in se)ec"ed i"e&s& e1isting ,D, notes within the item will be removed when you play a new note on the same channel and your new material recorded in its place. )ll other e1isting recorded material will remain as it is. Record 'u"pu" CK Record 'u"pu" E*7:7F >imilar to the input mode, but records the coming out of the F4 chain. ,D, signal
1ry i" no$4 ,f you have a ,D, keyboard, open the pro3ect file A)) 1!roug! 1!e 3ig!" BALER0.RPP ;which you saved earlier? and add a ,D, keyboard track to this pro3ect.
3.2?
Recording (i"! a Vir"ua) 7ns"ru&en"
,f you are intending to use a virtual instrument ;such as a T>Ti or D4i plug5in? for recording a ,D, track, you should choose the 7nser" vir"ua) ins"ru&en" on ne$ "rac%. command. This command can be accessed either by choosing 7nser" from the main menu ;then Vir"ua) ins"ru&en" on ne$ "rac%?, or by right clicking over the vacant Track Control Panel area and selecting the reCuired command from the conte1t menu. Nou will then be presented with a selection of all the virtual instruments that you have installed on your system. Double5click on the reCuired item. The track will be created, armed and named and the instrument displayed. The e1ample shown here is for Rea0yn:r, which reCuires four outputs. ,f the item selected is one that ;like this? reCuires multiple outputs then '()P(' will create the initial track and prompt to ask you if you would like the other reCuired tracks to be automatically built. ,f you select '8 the entire output chain will be built for you, as shown on the left.
0"

3.2= Using *icrosof" G0 (ave"ab)e 0( 0yn"!
,f you do not have any other synthesi9er at your disposal, you can still use the icrosoft D> Bavetable >ynth that is included with Bindows. This can be especially useful for playing any e1isting ,D, files that you may wish to import into '()P('. Nou will be shown how to import files later in this section.
To enable the
icrosoft D> Bavetable >B >ynth& ,D, <utputs, right click on icrosoft D> Bavetable >B >ynth and select Enab)e 'u"pu".
%. Do to 'p"ions9 Preferences and display the *7:7 :evices screen. !. 7nder .. Click on App)y, then on '8. This >ynth will now be available as a Bhen you are recording ,D,, you can if you wish now use the *icrosof" G0 (ave"ab)e 0( 0yn"! as your output device instead of using a software synth ;see above?. ,D, Qardware <utput on your various input*output and routing screens.
0%

3.2@ 7&por"ing *edia
Nou can incorporate e1isting media items ;such as P., ,D, and B)T files? into a '()P(' pro3ect. This can be done from the main menu, using the 7nser"9 *edia Fi)e ., but itJs probably easier and more useful A and certainly more fun 5 to use '()P('Js *edia E+p)orer. The edia (1plorer includes several handy features that make it easier for you to work with importing items.
The edia (1plorerJs state is toggled between displayed and hidden using the Vie$9 0!o$ *edia E+p)orer command, or the keyboard shortcut /"r) A)" 2. )mongst the edia (1plorerJs useful features are these& The edia (1plorer can be docked and undocked in the usual way. Nou can navigate to display the contents of any folder in its main window, by clicking on the small button shown in the above illustration 3ust above the column headed 2ame. Nou can add the currently displayed folder to the edia (1plorerJs shortcut list by using the *edia E+p)orer9 Add curren" fo)der "o s!or"cu"s )is" command. This makes it very easy to access freCuently used folders without the need for comple1 navigation. Nou can preview any file displayed within the edia (1plorer by clicking on its name. ,f the )uto play option is enabled, it will play automatically when selected. 2otice also the small Transport bar beneath the >hortcuts Panel A this lets you Play, >top and ad3ust the Tolume for the currently selected media item. Nou can also click on any part of the displayed waveform to play back from there. To avoid possible clashes of tempo, you can right5click on the background of edia (1plorer8s transport bar and choose the option Previe$ a" Pro5ec" 1e&po if *edia /on"ains 1e&po 7nfor&a"ion. Py clicking on the ,*< button, you can direct the Preview output to any audio output. 'ight clicking over the name of any media item will produce a conte1t menu, whose choices include 7nser" in"o pro5ec" and 7nser" in"o pro5ec" as ne$ "rac%. )lternatively, you can 3ust drag and drop, or double5click. ultiple selections can be inserted by making the selection and then right5clicking. The *edia screen in the Preferences window includes a setting to control the default behavior of multiple insertions.
0!

1ip: Nou can also use '()P('8s edia (1plorer to import and embed one entire pro3ect within another. This is e1plained in more detail in Chapter F.
3.2A
7&por"ing *7:7 Fi)es
Bhen you import a type % ,D, file into '()P(', you are offered the option of separating the tracks, or importing the file as one track. 'ight click over the name of the ,D, file in edia (1plorer and choose 7nser" 7n"o Pro5ec" on a 3e$ 1rac% from the menu. ) message such as that shown on the right will appear. ,f you enable the E+pand, 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
To then assign these tracks to an e1ternal synth for output ;to enable you to play the song?, follow this seCuence& %. !. .. /. E. >elect all of the imported tracks. 'ight click over the ,*< button for any one of these tracks. >elect *7:7 'u"pu"9 then the device, such as *icrosof" G0 (ave"ab)e 0( 0yn"!, then select 0end A)) or one of the 0end A)) as c!anne) options. >ave the file when you finished. Play the file.
Nou might, of course, wish to use a software synthesi9er ;D4i or T>Ti? to play the song. There are several ways of doing this, but the easiest is probably to place all of the tracks in a folder and then insert the synthesi9er plug5in into that folder8s F4 Chain. Be8ll come to the topic of folders and how you create them and set them up in Chapter /.
0.

3.2; 7&por"ing (ave Fi)es
Bave files can be imported into a pro3ect in the same way as ,D, files, via the edia (1plorer. For e1ample, if you have a set of wave files that have perhaps been e1ported from another D)B application such as Cubase or >onar, you can import them all together and automatically create a new track for each. )lternatively, you can 3ust drag and drop the files from '()P('Js edia (1plorer window, or even from Bindows (1plorer. ,f you intend to do this, you should be sure to select your preferred option under 'p"ions9 Preferences9 *edia ;not )ppearance, edia?. The same issues that are involved when importing ,D, files also apply here.
Nour four options as the default behavior when you import more than one item together are& 7nser" in one "rac% Eadvancing i"e&F A each is placed one after the other in the same track. 7nser" across "rac%s A each item is placed in a separate track, all starting together. :ecide au"o&a"ica))y A if files are of the same length ;file si9e? they will be placed in separate tracks, otherwise they will be inserted seCuentially in the same track. Pro&p" user A you will be prompted to indicate your preference ;see right?.
The file will be inserted at the current play cursor position. Pelow is shown the result of importing a number of samples all into a single track.
2ote that the *edia page of the Preferences window also includes a number of other options that are relevant when you are importing items& /opy inser"ed &edia "o pro5ec" &edia direc"ory A causes a copy of the inserted media items to be made in the pro3ectJs media items folder. ,t is generally advisable to enable this option because it ensures that all of your pro3ect8s media items will then be kept together in the same folder. Pro&p" "o confir& fi)ena&e on Uopen copy in edi"orM5 when opening a copy of any media item in your editor of choice, you will be prompted to name and save the copy before the wave editor is opened.
0/

3.3 3E(4 7&por"ing *edia fro& Audio /:
Nou can use '()P('8s edia (1plorer to import into a pro3ect material from an audio CD ;such as you might play on an ordinary CD player?. This could, for e1ample, 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 pro3ect. To use this facility you should follow this seCuence&
%. ,nsert an audio CD into your PC CD drive and wait for it to be read. !. Display '()P('8s edia (1plorer, select *y /o&pu"er in the left panel, then double5click in the main panel on the letter which represents your CD drive. .. The contents of the CD will be displayed in a similar fashion to that shown above. ,n that e1ample, the CD drive is labeled 4&. /. To play ;preview? any track from the CD, right click over that track then choose Previe$ from the conte1t menu ;see right?. Depending on whatever software is on your computer, you may also see some non5'()P(' related commands below this. E. To insert the contents of a track into the current pro3ect as a media item, right click over that track and choose either 7nser" in"o Pro5ec"9 or 7nser" 7n"o Pro5ec" on a 3e$ 1rac%, or 7nser" as a 1a%e in 0e)ec"ed 7"e&. The first of these choices imports the audio item into the currently selected track. The differences between the other two choices should be self5evident. )lternatively, you can double5click on the item to insert it into the currently selected track, or drag and drop to insert either on to an e1isting track or to a new one.
0E

3.31 Using "!e *e"rono&e
etronome when using '()P(' for recording.
Nou can set up and use a
To do this, you need first to use the 'p"ions9 *e"rono&e 0e""ings command to set up your metronome. The 'p"ions9 *e"rono&e Enab)ed command is then used to toggle the metronome status on and off.
1!e *e"rono&e 0e""ings

Enab)e *e"rono&e: This turns the built5in metronome on or off. 1!e 7#' ,u""on& ,mmediately to the right of the (nable etronome option, this allows metronome output to be directed to the device of your choice ;eg, Qeadphones?. *e"rono&e Rou"ing: This can route the metronome to a hardware output. Click on the little green button to the right of (nable etronome and select from list of available hardware outputs. Enab)e :uring P)aybac%: This will turn the metronome on during playback. /oun"Cin before p)aybac% : This will enable a count5in before playback. Enab)e :uring Recording& This will turn the metronome on during recording. /oun"C7n :uring Recording: This will enable a count5in before recording. 7seful if you are recording yourself. ,t ensures that when you press /"r) R the recoding will not actually start until after the specified count5in. This gives you time to get back to the microphone and pick up your instrument. /oun"C7n Beng"! E*easuresF: This defines the number of measures a count in should be. ,f it is the very beginning of a pro3ect, it will wait those number of measures before starting to record. ,f you select a place to record within a pro3ect, it will start the count in this many measures before the time that you want to record at. Vo)u&e: etronome Tolume 5 This is the overall volume of the metronome. 0econdary ,ea" A""enua"ion:5 This, in relation to the overall volume, the amount of the that secondary beats will be attenuated ;or lowered in volume?. 0a&p)e 0e)ec"ion: Nou can also use >amples for your own metronome sounds. Firs" ,ea" 0a&p)e: This is the sample for the first beat. ;in /*/, the %?. 0ubseTuen" ,ea": This is the sample for other beats. ;in /*/, the !, ., and /?. ,f you wish to have your samples used for the metronome in all your pro3ect you will need to set up the samples, save the pro3ect and a template ;with any other pro3ect setting you think may be useful? then, in Preferences*Pro3ect specify that pro3ect as the default template to use for all new pro3ects. 0yn"!esised: Py default, '()P(' uses a synthesised metronome. The below settings show what freCuency in hert9 the metronome uses. FreCuency of First Peat 6116 QS >ubseCuent Peats 6116 QS ,ea" /)ic% Beng"! ++ &s& This is how long each beat click lasts. 1ip: The etronome Time Pase is controlled by the Pro5ec" 0e""ings. Press A)" En"er and display the Pro5ec" 0e""ings page if you need to change this.
0G

3.32 Recording $i"! E+"erna) F2
<ne special feature of '()P(' is the way it can be used to record a track using an e1ternal hardware F4 device in much the same way as you might use an e1ternal device as an insert when recording on an analog desk. ,t does so by making use of a special plug5in called Rea7nser". QereJs how itJs done. ,f you want to try it out step by step, create a new '()P(' pro3ect file, insert a track, then get your F4 device ready.
E+a&p)e
%. !. .. /. E. Connect an otherwise unused audio output to the input for your F4 device. Connect the output of your F4 device to an otherwise unused audio input. Create a new '()P(' pro3ect files and add a single audio track. Dive this track a suitable name. RetJs record a vocal with the F4 on it. Connect your microphone to an otherwise unused audio input. >witch on the F4 Device. )rm the track for recording in the usual way. >elect the input device ;to which the line or microphone is attached?, select *oni"or 7npu" and specify that you want to Record 'u"pu" and choose your reCuired option ;such as *ono9 Ba"ency /o&pensa"ed?, 3ust as we did in the section Recording a 1rac%Ds 'u"pu".
G. #. 0. F.
2ow display the F4 Bindow for this track, and add the F2 V01:Rea7nser" to this window ;see above?. >pecify the actual Qardware >ends and 'eturns that you set up at steps !. and /. ake sure the F4 Device mi1 is set to %""O Dry, then click on Au"o :e"ec". This enables '()P(' to calculate the reCuired degree of delay compensation. Bith the trackJs output directed to your headphones, monitor the reCuired Tolume and F4 Revels, including the F4 Bet*Dry mi1.
%". Bhen you are ready, 'ecord. %%. Bhen finished, donJt forget to disarm the track and set the 'ea,nsert plug5in status to ,ypass.
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3.33 Preference 0e""ings for Recording
The Recording page of the Preferences window can be used to specify a number of options about '()P('Js 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 havenJt, for e1ample, forgotten to arm one or more tracks. To automatically display the whole Track Control Panel ;including T7 meters? when a track is armed. Bhen to add recorded media to a pro3ect when loop recording. Bhether to prompt to save files when recording is stopped. ,f you disable this option, files are automatically saved. Prevent recording from starting if no track is armed. Nou may wish to turn this off if you are using layered recording for a track ;or tracks? where recording is not reCuired to start until some way into the song. To specify a default path for your recorded files. This can help you to keep track of your work. For good housekeeping, this should preferably not be the same as your '()P(' program directory. Bhich items to include in the file names for recorded media A you can include any combination of the track inde1 number, the track name and the time stamp ;or none of these?. To check for free disk space before recording, and to display the amount of free disk space on the menu bar.
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3.3> 1rac% Preferences for Recording
The '()P(' 1rac% :efau)"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 Pro5ec" :efau)"s page of the 'p"ions9 Preferences window. >ettings on this page include& The default gain level for the trackJs volume fader. Bhether the trackJs output should be routed to the ain send. Bhether new tracks are automatically armed for recording when they are inserted. Bhether ,nput Bhich 'ecord onitoring should by default be on or off for new tracks. ode should be the default for new tracks.
2otice also that under 'p"ions9 Preferences9 Appearance there are a number of settings which together determine how your track T7 meters are presented. For e1ample, you can choose whether or not to 0!o$ "rac% inpu" $!en record ar&ed and to *a%e obvious "!a" "rac% inpu" is c)ic%ab)e. Disabling this latter option may improve the clarity of the display on your T7 meters.
3.3?
Recording $i"! *i+ed 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 Pro5ec" 0e""ings. To change these for any track, simply right click over the trackJs T7 meter, then from the menu choose 1rac% Recording 0e""ings. Nou can choose any of the formats (AV, A7FF, *on%eyIs Audio, FBA/, *P3, 'GG Vorbis, or (avPac% )oss)ess co&pressor. Depending on which format you choose, you will be presented with a range of options appropriate to that format.
0F

3.3= Recording an 7n"erne" Audio 0"rea&
Nou can use '()P(' to record any audio stream that you are receiving over the internet. <f course, before doing so you should make sure that you are not in breach of any copyright restrictions. The e1act method reCuired will depend on your hardware setup, including your sound card. Nour sound card will be provided with some sort of software for changing its settings. This may or may not have its own icon within the Bindows Control Panel. ,f you are not sure how to access it, you can click on the Bindows 0"ar" button, choose Run, then type sndvo)32 Gr 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 available? either 0"ereo *i+ or (!a" Lou <ear. >hown above is an e1ample of the settings for a 'ealtek sound card. ,n this e1ample, input from all, other sources ; icrophone, Rine, etc? has been temporarily disabled. <pen your web browser and find the page containing the item that you wish to record. <pen '()P(', create a new file and add a track. The ne1t step may reCuire a little e1perimentation. Depending on the eCuipment you are using, it might be necessary to change your 'p"ions9 Preferences9 Audio9 :evices settings to :irec" 0ound. )n e1ample is shown here. )rm your track for recording, making sure to select the correct input. Press /"r) R to start recording. ,n your web browser, play the item that you wish to record. Bhen finished, stop recording and save your work.
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E. G.
3o"e: DonJt forget when you have finished, to restore both your >ound Card 'ecording Control options and '()P('Js )udio Device Preferences to their previous settings.
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3.3@ REAPER Audio Recording /!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 leads?. ,n other cases the order is critical ;e.g. you should always connect your microphone to your preamp before turning on the phantom power supply?. ,f you are not sure, keep to the e1act same seCuence outlined here. 7"e& Prepara"ion /o&&en" >et up all e1ternal recording eCuipment needed ;microphones, stands etc?. )ll faders and gain controls on mi1er and*or sound device turned right down. Phantom power ;if available? turned off. (verything connected that needs to be connected ;e.g. microphone leads to mi1er or sound device?. Turn eCuipment on, but check volume on speakers isn8t too loud. Connect headphones to headphone amp or sound device. ,f phantom power reCuired ;for condenser microphone?, turn it on. P/ Pre)i&inaries Pro5ec" 0e""ings Turn on PC and wait for Bindows to open. <pen '()P(' with reCuired pro3ect file. >ave file. Check recording format and settings A e.g. !/ bit B)T at //%"" Q9. ,s a different format reCuired for this track+ ake sure 'ecord ode is set to 2ormal. 2amed and armed for recording+ Track ,nput onitoring on or off+ 7se the >ound CardJs direct input monitoring if available in preference to '()P('Js. 'ecord ,nput selected+ Correct input channel selected+
1rac% 0e""ings
1es" Recording Beve)s
>tart low and work up. 'ecord a small sample to test levels& the e1amples below show too low, too high and about right. ,t is better to be too low than too high.
Recording Eva)ua"ing
Press /"r) R to record and again to stop recording when finished. >ave media items. Press /"r) 0 to save pro3ect file. 7narm 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 down?, to prevent live ambient sounds from being mi1ed in with your recorded material.
F%
F!
> C Pro5ec" Arrange&en" ,asics >

>.1
Pro5ec" Arrange&en" ,asics

*anaging 1rac%s
,n >ection !, we introduced some very basic '()P(' track management features, such as Tolume, Panning, ute and >olo. ,n this section, we will be e1ploring these features in more depth, as well as introducing many others. 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 ;right? shows only the first few of these. 'emember that at any time you can use /"r) N to undo your last action. '()P('Js 7ndo capabilities are described in more detail later in this section. 1ip& Pefore continuing, you might wish to open the supplied pro3ect file A)) 1!roug! 1!e 3ig!".RPP and save it to a new name such as A)) 1!roug! 1!e 3ig!" E:710.RPP. Nou can then use this file to try out and e1periment with some of the ideas presented in this section.
/opying9 :e)e"ing *oving and 'rdering 1rac%s

) number of techniCues can be used for carrying out these various track management tasks. 1as% *ove a "rac% up or do$n "!e "rac% order *ove "$o or &ore ad5acen" "rac%s up or do$n *e"!od Click on or around the track number, then click and drag the track up or down the track list, then release the mouse. )ll media items are moved with the track. >elect the control area for all reCuired tracks. To do this, click on the track number for the first track, then hold /"r) while clicking on the track number;s? of the other tracks. Then click and drag up or down. )ll media items are moved with the tracks. :e)e"e a "rac% Click on or around the track number, the press :e)e"e, or right click ;see menu above? and choose Re&ove se)ec"ed "rac%s. )ll media items are removed with the track. 7se /"r) with the left mouse click to make your selection, then press :e)e"e, or right click and choose Re&ove se)ec"ed i"e&s. )ll media items are removed with the tracks. /opy a "rac% as "!e ne+" "rac% 'ight click over the track number, choose :up)ica"e se)ec"ed "rac%s. )ll media items are duplicated with the track. To do this with more than one track, select all reCuired tracks first. /opy a "rac% "o a specified )oca"ion :isp)ay "!e *as"er in 1rac% Vie$ Click on the track number. Press /"r) /. ove to the reCuired location then press /"r) V. )ll media items are duplicated with the tracks. To do this with more than one track, select all reCuired tracks first. 'ight click anywhere in the Track Control Panel area, below the last track. Choose 0!o$ &as"er "rac%. The keys /"r) A)" * can be used to toggle this display on and off.
:e)e"e "$o or &ore "rac%s
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>.2 Fo)ders9 0ends and ,usses
,n >ection ! of this 7ser Duide, you were shown how to create a track and use it as a bus, for e1ample to add the same reverb effect to a number of tracks. The signal flow that we created can be represented by the following diagram. The sends that you create for each track send a portion of the signal to the Pus track, which applies the effect, and then sends the processed ;wet? signal on to the aster. )t the same time, so long as the 0end *as"er#Paren" option within each trackJs ,*< window remains ticked, the dry signal for each track is also sent directly to the master, where it is mi1ed together with the signal from the Pus. ,f you were to turn off the 0end *as"er # Paren" option for your three tracks, then your Pus effectively becomes a submi1. Qowever, '()P(' offers you an often smarter way of creating a submi1, which is to use Track Folders. Nou will be shown how to do this in the section that follows.
Pefore we do this, however, letJs first get a handle on the basic concept of what a Track Folder is and how it works. ,n essence, a Track Folder is a track that acts as a submi1 for all of the tracks within it. ,n the case of child tracks inside a parent Track Folder, the 0end *as"er # Paren" option directs the output of individual tracks not directly to the aster but to the Track Folder ;Parent?. Thus, output of all tracks from a track folder goes to the aster not directly but via the Track Folder. The illustrations ;above and right? show one track folder ;parent? which contains three child tracks.
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> C Pro5ec" Arrange&en" ,asics
This third e1ample ;left? shows three tracks within a folder, where two of the three tracks also use a send to send a portion of their track signals to a 'everb Pus. This reverb is then mi1ed in ;at the aster? with the signal sent there from the Track Folder.
The illustration above is of the pro3ect represented by the flow chart at the top of the page. ,t shows the track structure of the pro3ect, together with the ,*< window for the track that serves as 'everb Pus. )s you get to use '()P(' more and more, you will see that its routing capabilities, including the way it uses folders, is one of its greatest strengths. Ret8s look first at how you set up folders, and then how you can even create folders within folders. 1ip: ) Cuick way to create a send from one track to another in either the Track Control Panel or the i1er is simply to click and drag from the 7' button on one track to the 7' button on another. This will open the >end Controls dialog bo1 to enable you to specify the various settings.
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>.3 3E(4 /rea"ing and Using 1rac% Fo)ders
Folders can be used to group tracks together. Bhen a number of tracks are grouped together in this way, the folder controls can be used to control all tracks in the folder. For e1ample, you can use the Vo)u&e controls for individual tracks within a folder to set the relative volume levels for the different tracks. Nou can then use the Tolume control for the folder to control the overall combined volume level of the tracks in that folder. )nother e1ample is that the *u"e and 0o)o controls for the folder will cause all tracks in the folder to be muted or soloed. ,n addition, you can, of course, continue to use each trackJs individual ute and >olo controls. The e1ample illustrated ;right? shows a folder called Voca)s that contains three individual tracks. The folder itself is soloed, and one of the tracks within the folder is muted. This results in only two of the tracks being heard when the song is played. To create a track folder, follow this seCuence& %. Create all of the tracks in the Track Control Panel in the usual way. The first one will later become your folder track and control the mi1ed output levels sent to the master for all of the tracks within the folder. 2ame this track as you wish. ,n the e1ample shown, it has been named Voca)s 2ame your other tracks. Nou can record the media on these tracks either before or after moving them into your folder. ,n the e1ample shown, the media has been recorded. Click on the folder icon ;this is the first button to the right of the track name?. The status of this track will be changed to folder. This is indicated by both the down pointing arrow on the icon and the three small hori9ontal bars that replace the track number. )ll your other tracks will now be placed inside this folder. Nou can see this because they are indented. 2ow identify this same button for the track that is to be the last track in the folder. ,n this e1ample this would be track /. This button cycles between the track being a folder, a normal track, or the last track in a folder. Click this button as necessary until it changes to last track in folder status, represented by an upwards pointing arrow ;see picture on right?.
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/.
The three bars that replace the track number can be clicked to toggle between three different view states for the folder8s contents. 2ormal state is shown above. Pelow are the minimi9ed ;left? and hidden ;right? states.
FG

>.3.1 3es"ed Fo)ders
'()P(' allows you to nest folders within folders, to as many levels as you like. The pro3ect shown here is an e1ample of this. 2otice that& There is a top level folder called Voca) 1rac%s which holds three vocal tracks. There is another top level folder called 7ns"ru&en"s which holds two sub5 folders ;)coustic Duitar and <ther ,nstruments? as well as a Pass Duitar track. The two sub5folders Acous"ic Gui"ar and '"!er 7ns"ru&en"s each enclose tracks and are also themselves sub folders nested within the ,nstruments folder. There are two more top level folders, called :ru&s and Reverbs.
The seCuence below retraces how this hierarchy of sub5folders was in this case created. %. The four main level folders 5 Tocal Tracks, ,nstruments, Drums and 'everbs were set up in the usual way& Track % was made into a folder, Track / last track in folder, Track E Folder, Track %! last track in folder and so on. The folder icon on track G ;)coustic Duitar? was used to make that track into a folder. Pecause this track is in an e1isting folder, it became a sub5folder. Track 0 was made last track in folder by clicking its folder icon twice. Track F was made into a folder in the same way as Track G. Track %% was made last track in folder by clicking its folder icon twice.
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>.3.2
/!anging Fo)der 0"ruc"ures
There are two methods that you can use to change a pro3ect8s folder structure. <ne is simply to use the various track8s folder icons to make every track a top level track before starting all over again, the other is by dragging and dropping. Ret8s assume that we want to move the andolin from the <ther ,nstruments Folder to the )coustic Duitars folder. %. Click and hold the mouse on the track number for the track that is to be moved. 2otice the hori9ontal blue bar.
F#

!. .. Drag the track up to its new position ;see below left?. The blue bar indicates the position. 'elease the mouse. The track is moved to its new position ;see below right?.
/. E.
2ow let8s change our mind again and move it out of the folder altogether. >tart by repeating step % 5 that is, click and hold the mouse over the track number to select it. Drag it above or below the folder ;in this case above? until you can see from the width of the hori9ontal blue bar that it is positioned as a top level track ;below left?. 'elease the mouse to drop the track into its new position ;below right?.
<ne real benefit of using folders is that they make it very easy with 3ust a few clicks to contract and e1pand different tracks and groups of tracks. >hown here;right?, for e1ample, is how you might want to display your pro3ect when ready to do some serious work on 3ust your drum tracks.
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>.> 1rac% /o)ors
Pesides 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 tracks? in the Track Control Panel, then right click and use any of these commands& /o&&and 0e" se)ec"ed "rac% co)ors "o cus"o& co)or. 0e" se)ec"ed "rac% co)ors "o rando& co)ors 0e" se)ec"ed "rac% co)ors "o one rando& co)or 0e" "rac% co)or "o defau)" Effec" <pens a Color >election dialog bo1 for you to select a color for the trackJs media items. >ets the media items for each track in the selection to a different randomly chosen color. >ets the media items for all tracks in the selection to the same randomly chosen color. 'estores the track8s color to the default for the current color theme.
The illustration ;right? shows an e1ample of how the /o)ors interface ;displayed by choosing the 0e" se)ec"ed "rac% co)ors "o cus"o& co)or. command can be used specify different colors for different tracks and groups of tracks.
>.?
/o)or 1!e&es
'()P(' also supplies a number of color themes that you can use to present your pro3ects attractively. To select from the themes supplied with '()P(', use the 'p"ions9 /o)or 1!e&es command. ,n addition, a very large number of themes are available in the 1!e&e Pac%. This is available for free download at !""p:##$$$.coc%os.co&#reaper#do$n)oad.p!p Nou can also visit the '()P(' 7ser Forums for more themes.
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>.= 3E(4 1rac% 7cons
,cons can be added to tracks to enhance them with a visual representation of their content. Nou can drag your own .P2D or .$PD files from Bindows (1plorer and drop them on to any track in the track control panel, or right click over the track number and choose 0e" 1rac% 7con. from the track menu to use any of those supplied with '()P('. This opens the Boad 7&age Resource dialog bo1, from which you can make your selection and click on 'pen.
>hown above is an e1ample of a pro3ect 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. i1er, open the i1er, display its menu and choose 0!o$ 1rac% 7cons in
To remove icons from any track or selection of tracks, first select the tracks ;in either the track control panel or the mi1er? then right5click over any selected track icon and choose Re&ove 1rac% 7con from the menu.
>.@
3E(4 <iding 1rac%s
)ny track ;or selection of tracks? can be hidden from the track list ;in main view? or mi1er. To do this, select the tracks and right click over the track number for any track in the selection, either in '()P('8s main view or in the mi1er. Nou can then deselect either the option to 0!o$ 0e)ec"ed 1rac%s in *i+er or 0!o$ 0e)ec"ed 1rac%s in 1rac% Bis". To restore previously hidden tracks to view, select the view in which they are still displayed, then select the tracks. Nou can then right click and turn back on whichever of the 0!o$ options you previously turned off ;see right?.
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>.A 1rac% /on"ro) *odifiers
Four features used e1tensively in auditioning tracks are the Vo)u&e and Pan faders and the *u"e and 0o)o buttons. The basic functions of these controls has been covered in >ection !. Qowever, '()P(' gives you additional functionality by using modifier keys with these controls&
Vo)u&e /on"ro)s
*odifier 8ey A)" /"r) 0!if" /"r) :oub)e c)ic% Effec" Bhen mouse is released, fader returns to its original position. Bith more than one track selected, only the control for the current track is affected. )llows for more precise control of fader level. 'eset to 9ero.
Pan /on"ro)s
*odifier 8ey A)" /"r) 0!if" /"r) :oub)e c)ic% Effec" Bhen mouse is released, fader returns to its original position. Bith more than one track selected, only the control for the current track is affected. )llows for more precise control of fader level. 'eset to centre.
*u"e /on"ro)s
*odifier 8ey 0!if" /"r) A)" /"r) A)" Effec" Bhen more than one track is selected, only the current track is toggled. Clears all mutes. 7nmutes selected track;s?, mutes all others. utes selected track;s?, unmutes all others.
0o)o /on"ro)s
*odifier 8ey 0!if" /"r) A)" /"r) A)" ,u)% 1rac% *u"e#0o)o To mute or solo a whole 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. Effec" Bhen more than one track is selected, only the current track is toggled. Clears all solos. >olo selected tracks only, e1cludes output from any sends. >olos selected track;s?, unsolos all others.
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1rac% /on"ro) *odifiers: Rig!" /)ic% 'p"ions ,f you have difficulty in remembering how the different modifier keys behave with the mute and solo buttons you have the option of right clicking over either button instead of using the keyboard. ,n both cases this causes a conte1t menu to be displayed from which you can select your reCuired action.
1!e *u"e con"ro) con"e+" &enu
1!e 0o)o con"ro) con"e+" &enu To apply any of these commands to a number of tracks, select the reCuired tracks in the TCP before you right5 click. 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 e1ample is shown here. 'ight clicking over the Pan fader opens a window which can be used to change that track8s pan law. This sub3ect is discussed elsewhere in this user guide
>.;
0o)o 7n Fron"
The solo in front feature allows you to hear the rest of your pro3ect Cuietly in the background when a track or track selection is soloed. This feature is toggled on and off by the 'p"ions9 0o)o 7n Fron" command.
The level at which the background tracks are heard can be specified via the <ptions, Preferences, )udio settings page. 2otice that this setting ;in the above e1ample it is set at %0dP? determines the number of decibels by which the background mi1 is reduced. This means that the higher the setting the Cuieter the background mi1 will be heard and vice versa.
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>.1 1rac% and 1rac% /on"ro) Grouping
The topic of track and parameter grouping is a huge one with an e1traordinary range of options designed to help you especially in your mi1ing and arranging. ,t is based upon the following principle&
Nou 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 Cuite simple to rather comple1, and everything in between. (verybody will have their own different ways in which '()P('8s track grouping feature can be helpful. Ret8s look at some possible e1amples. These e1amples have been selected primarily for learning purposes. Nou might or might not find the actual e1amples themselves to be useful for you. Nou 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. Nou 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. Nou might have two or more tracks that you wish to treat as a group so that they are always soled and muted together.
Ret8s take a look at these e1amples to begin with. Py way of preparation, we can create a special pro3ect file for this purpose. Nou can group any selection of tracks that you like& in this e1ample, 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.
>.1 .1 E+a&p)e
%.
,asic 1rac% Grouping

<pen the file A)) 1!roug! 1!e 3ig!".RPP and immediately save it as A)) 1!roug! 1!e 3ig!" GR'UP0.RPP >elect Track % ;To1? and press /"r) 1 to create a new track immediately below it. 2ame the new track 7ns"ru&en"s. >elect the two Duitar tracks and the Pou9ouki track, then drag and drop them into the ,nstruments track, as shown here. ,f you prefer, instead of drag and drop you can use the track8s folder buttons to create the folder. >ave this file.
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/.
There are several ways to create and manage your groups. This can be done either using the 1rac% /on"ro) Pane) or the 1rac% Grouping *a"ri+. Be8ll take a look at both methods. E. First, you need to make sure that the track grouping is enabled, Choose the 1rac% command from the main menu. ,f 1rac% grouping enab)ed ;near the bottom? is not ticked, click on this command to select it. ,f it is already ticked, 3ust click on the '()P(' title bar. ,n the Track Control Panel, select tracks . and /. Be are going to group them. Press 0!if" G to open the Grouping dialog bo1. )lternatively, you could right5click over the selected items and choose 1rac% grouping para&e"ers. from the conte1t menu. (ither action causes the following dialog bo1 to be displayed.
G. #.
%".

0. Be wish to group together the volume controls for these two tracks. >elect both the options Vo)u&e *as"er and Vo)u&e 0)ave as shown. Be will e1plain the meaning of aster and >lave shortly. /)ose the Drouping bo1. To make sure that the group relationship is displayed on screen, choose the 'p"ions9 Preferences command and select the Appearance page. ,dentify the item 1rac% grouping indica"ors ;near the bottom?. Nou can choose to display your group indicators as either Ribbons or Bines on edge. ,n the e1ample shown below, the Bines on edge option has been selected. %". Click on '8 to close the Preferences dialog bo1. %%. Click on Track % in the Track Control Panel. %!. Nour screen should now resemble that shown below, with a thin red hori9ontal line below both grouped faders. %.. ,f you now ad3ust the volume fader of either of these two tracks, the other volume fader in the group will move with it. %/. Nou can still ad3ust either volume fader independently of the other by holding the 0!if" key while you make the ad3ustment. %E. )t the moment only the volume controls for these tracks are linked. <ther items such as pan, mute, solo will all still function independently. %G. Be now wish to group the pan controls for these two tracks, this time with a reverse ;or negative? relationship rather than a positive one. Be could do this by again displaying the Drouping dialog bo1, but instead we are going to use the Track Drouping atri1. %#. First, pan track . about ."O left and track / about ."O right. 2ow choose the Vie$9 1rac% grouping &a"ri+ command. This opens a window that can be used to show up to .! different track groups. Be are 3ust concerned for now about Droup %. %0. Click in the cells where the Pan column intersects with Track . and Track /. For either one ;but only one? of these tracks, click also on the F)ag: pan reverse option, as shown. %F. >ave the file. !". ove the pan fader for track . further to the left. The fader for track / will move with it but in the reverse direction ;that is, to the right?.
F.
!%. To name the group, right click anywhere over the matri1 for this group to display the Grouping dialog bo1 that we used earlier. Click on Rena&e, then type a name such as Gui"ars. !!. Click on /)ose to then close the Drouping dialog bo1.
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!.. ,n the Track Drouping atri1, select the 0o)o option for tracks . and / ;see below right?. i1er, click on the >olo button for either of these tracks.
!/. ,n either the Track Control Panel or the 2otice that both tracks are soloed.
!E. Click again on the >olo button for either of these tracks. 2otice that neither track is now soloed. !G. Qold down the 0!if" key while clicking on the >olo button for track /. 2otice that only track / is now soloed. Nou have also created a reverse relationship for this parameter. !#. Click on the >olo button for track /. ,t will be unsoloed and track . will now be soloed. !0. Qold down the 0!if" key while clicking on the >olo button for track /. This removes the reverse relationship and creates a normal link for these two parameters. Nou can see how by using the 0!if" key, you can toggle the relationship for these items between positive and negative. !F. >ave the file. .". Click in the Enab)e#:isab)e bo1 for this group ;as shown?. The group is now temporarily disabled. Nou can ad3ust any parameter for any track within the group without affecting any other parameter. .%. Click again in the Enab)e#:isab)e bo1 for this group. The grouping is enabled again. .!. >ave the file. >hown below is where you set the option to use nor not use track grouping indicators. To view this screen, use the 'p"ions9 Preferences command, then select Appearance.
%"E

>.1 .2 1rac% Grouping ,asic /on"ro)s Using "!e 1rac% /on"ro) Pane)
>elect the tracks in the Track Control Panel, press 0!if" G then select at least one parameter. Press 0!if" G, select the reCuired group number and click on Rena&e. )d3ust the fader for any one track in the group. Qold 0!if" while ad3usting the single fader. >elect the track in the Track Control Panel and press 0!if" G. Click on Reverse Vo)u&e or Reverse Pan as reCuired. Qold 0!if" while clicking on the appropriate button ;such as >olo or ute? for the individual track. Using "!e 1rac% Grouping *a"ri+ Display the Track Drouping atri1 and select at least one parameter ;such as Tolume? for each track to be included in the group. 'ight5click over the group matri1, select the reCuired group number and click on Rena&e. ,n i1er view, ad3ust the fader for any one track in the group. ,n i1er view, hold 0!if" while ad3usting the single fader. ,n the track row, click on the intersection cell for Pan Reverse or Vo)u&e Reverse.
7n order "o do "!is .

:efine "!e "rac%s in a ne$ group
3a&e a group
Ad5us" a)) )in%ed faders for a group Ad5us" "!e fader for on)y one "rac% in a group con"aining )in%ed faders 1o define a pan or vo)u&e re)a"ions!ip as reverse for a "rac% $i"!in a group
1o c!ange an e+is"ing "ogg)e para&e"er re)a"ions!ip Esuc! as 0o)o9 *u"e or Record Ar&F in"o a reverse one Bin% &ore para&e"ers for "rac%s in an e+is"ing group Add ano"!er "rac% "o an e+is"ing group
,n i1er view, hold 0!if" while clicking on the appropriate button ;such as >olo or ute? for the individual track. Click on the intersection cells where the reCuired parameter column meets the track rows. Click on intersection cell where the reCuired parameter column meets the row for the track that is being added.
<pen the Drouping dialog bo1 for the group and select the reCuired parameters. >elect the track in the Track Control Panel and press 0!if" G. Display the drop down group list and select the reCuired group. >elect the reCuired parameters.
1o re&ove a "rac% fro& an e+is"ing group
>elect the track in the Track Control Panel and press 0!if" G 7nselect all selected items e1cept Group enab)ed
Depending on whether the items status is >lave, aster or both, click once, twice or three times on the appropriate intersection cell until it shows blank. ,f more than one parameter is linked, do this once for each parameter.
Enab)e#:isab)e group
Press 0!if" G, select the group from the drop down list then click in the Group enab)ed bo1.
Click in the group8s (nable*Disable bo1.
%"G

>.1 .3 *as"er and 0)ave 1rac% Grouping
) control which is master only is one that when ad3usted will also change the setting for all slave members of the group but which will not itself be controlled by other group members, not even other masters. ) slave only control is one that when ad3usted will not change the setting for any other members of the group but which will itself be affected when any group member with master status is ad3usted. 7p until now, all of the items that we have selected for grouping have been acting as both master and slave. This has meant, for e1ample, that moving either volume fader will also cause the other to move. Qowever, there will be times when you may want a particular item to function as only a master or only a slave. Ret8s consider some e1amples. Be8ll work thru two e1amples. The first will be relatively straightforward and is designed solely to help you to understand the master*slave concepts. The second e1ample will be a little more difficult, but will demonstrate a very real e1ample of when using master*slave relationships can be useful.
E+a&p)e
%. !. ,f not already open, open the file A)) 1!roug! 1!e 3ig!" GR'UP0. ,n the Track Drouping atri1, click on the appropriate cell to add the ,ou-ou%i vo)u&e fader to the Gui"ars group. Click twice more and its status will change first to * then to 0 as shown on the right. ,f you now move the volume fader for either guitar track, the slave fader for the Pou9ouki will also move. Qowever, if you move the Pou9ouki fader, because it is only a slave none of the other faders in the group will be affected. 2ow click on the G"r ,ody Vo)u&e cell. This sets its status to master only ;indicated by the letter ?. This means that it can still be used to control other slave tracks, but will not itself be controlled by any other. Ret8s recap the status of our three volume controls& 1rac% 3 is master only. Bhen you ad3ust it, track / will also be ad3usted ;because it has slave status as well as master status? and track E will be ad3usted because it is a slave. 1rac% > is both master and slave. Bhen you ad3ust it, track . will not be ad3usted because it is master only, but track E will be ad3usted because it is a slave. 1rac% ? is slave only. That fact alone is sufficient to ensure that when ad3usted it will not cause any other volume faders in the group to be moved. E. G. Be are now ready to move on to the ne1t e1ample. ake the necessary changes on your Track Drouping to ensure that your guitar group is now set up as shown on the right. The Pou9ouki has been added as master and slave for volume control only. )ll other controls have also been restored as master and slave. Be are now going to create a second group to link the To1 and the Pou9ouki. This will create a situation in which because the Pou9ouki belongs to both groups unwanted conseCuences can occur: Be will then resolve this by redefining certain master*slave relationships. ,n your Track Drouping atri1, change the name of Group 2 to Vo+ ,ou-ou%i and select the volume faders for both these tracks for inclusion in this group, as shown below. 2otice that the Pou9ouki relationship is defined as reverse, so that as the To1 is faded up the Pou9ouki goes down, and vice versa.
..
/.
#.
0.
%"#

F. 2otice also that in this e1ample our group includes one track that is in a track folder and one that is not. Droups can cut right across the boundaries of track folders.
%". 2ow move the Vo)u&e fader on the Vo+ track up a little. )s you do, notice that all three instrument faders are lowered. Fade either guitar track down a little. The To1 track will be increased in volume. This clearly is not what we wanted to achieve. ,t is happening because the track that e1ists in both groups 5 the Pou9ouki 5 is both master and slave in both groups. %%. <ne somewhat inelegant solution might be to disable one group every time we want to work with the other group. This would work, but could involve a lot of fiddling around. %!. There are a number of other more satisfactory options available, depending on e1actly how we want our faders to behave. Qere is one method, shown on the right. %.. ,n both the Gui"ars group and the Vo+ ,ou-ou%i group, change the status of the ,ou-ou%i track to s)ave. %/. Be have now ensured that you can ad3ust the volume of the Vo+ track or either of the two guitar tracks without any changes being made outside of their group. %E. This solution may well be what we want, but there is another possibility. >uppose that we want the option of using the Pou9ouki volume fader to control both groups. )t the moment it controls neither. %G. ,n this case, we can restore its master*slave status in both groups, and also select in both groups the option not to master when slaving ;see right?. %#. Nou will now find that changes to the Pou9ouki fader will affect both groups, while changes to the other faders will affect only the individual group. %0. >ave the file.
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>.1 .> Group Para&e"er 0"a"us 7ndica"ors
,f you choose to have visual track grouping indicators displayed in the track control panel and mi1er, then the e1act position of those indicators gives you information about that item8s group status. Qere are some e1amples. ,n this first e1ample, in track view you can see that the volume faders for tracks ., / and E have been made into a group. Track . has been set to master only. The colored bar underneath the fader occupies only the left half of the fader length. Track / is slave only, as indicated by the fact that the colored line occupies only the right half of the fader length. Track E is master and slave. Qence the line runs for the whole length of the volume fader. Qere is the same e1ample again, but with ribbons rather than lines. Track . has been set to master only. The colored ribbon shown on the fader occupies only the top left corner of the fader. Track / is slave only, as indicated by the fact that the colored ribbon occupies only the bottom right corner of the fader. Track E is master and slave. Qence there are ribbons in both the top left and bottom right corners. This last illustration shows the same arrangement in mi1er view, again with ribbon indicators. The information is indicated in essentially the same way.
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>.11 :isp)aying Grid Bines
'()P(' lets you determine whether or not to show grid lines in your pro3ects. ,f you choose to show them, you have a number of options to determine how they are displayed. The preference is a personal one. ,n this section we will look at three e1amples of how you might choose to use grid lines if you wish. The display of grid lines is toggled on and off using the 'p"ions9 0!o$ grid command or the keyboard shortcut A)" G. Drid line settings are accessed via the 'p"ions9 0nap#grid se""ings command or the keyboard shortcut A)" B. The e1amples below illustrate the effects of various permutations of grid setting options. 0!o$ grid disab)ed.
0!o$ grid enab)ed. >pacing % beat, minimum !" pi1els. Drid line thru items, arker line over items. Dotted grid lines not selected. 0!o$ grid enab)ed. >pacing % beat, minimum E pi1els. Drid line under items, arker line over items. Dotted grid lines option selected. 0!o$ grid enab)ed. >pacing % beat, minimum E pi1els. Drid line over items, arker line under items. Dotted grid lines option selected. Rater in this 7ser Duide, you will be shown how you can use your grid settings to automatically snap various '()P(' ob3ects and items to position.
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>.12 Audio 0crubbing
>crubbing is a techniCue that originated in the pre5digital days when all recording was done with magnetic tape. ,t helps you to move within a pro3ect, or track, or group of tracks, to audition or locate a particular section. >crubbing is most commonly used in '()P(' when your pro3ect is not playing, but you can over5ride 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. Nou can then click and drag in either direction. NouJll probably find when scrubbing that you will want to 9oom in Cuite closely on your pro3ect. Nou can set your scrub preferences in the Audio9 P)aybac% page of the 'p"ions9 Preferences window, as shown below.
2otice in particular that& Nou can enable or disable scrubbing as the default behavior. Qolding the 0!if" key down while dragging the edit cursor will temporarily over ride this setting. This means that even with 0crub#5og source &a"eria) not selected ;as shown above?, you can still hold the 0!if" key down to scrub when you wish. Nou can also choose to be able to engage scrub mode to over5ride normal playback. ,f you enable the 'n)y p)ay se)ec"ed "rac%s option, then only those tracks currently selected will be heard when you apply scrubbing. Nou can limit the scrub rate ;speed? to no more than normal playback speed. This makes it easier to identify the audio material when scrubbing. Py default, holding down the /"r) key while scrubbing will enable Jog mode. ,n this mode scrubbing will be much slower. This can help when looking for very short glitches, for e1ample when 9oomed in close.
2otice also ;right? that if scrubbing is enabled and you have a three button mouse, you can set the middle button to 3og*scrub if you wish.
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>.13 0earc!ing "!e Preferences 0e""ings
Nou have already come across a number of '()P('Js preferences settings. For e1ample, we have looked at some of the preferences settings for )udio Devices, ,D, Devices, 'ecording and Pro3ects. 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 te1t bo1 and a Find button near the bottom of the Preferences window. Nou can enter any word or phrase in the bo1, click on Find and the first occurrence of that word or phrase will be shown. ,f this isnJt the item that youJre looking for, each time you click the Find button the ne1t occurrence of that word or phrase will be shown. ,n each case, the item will be displayed with a colored highlight.
,n the e1ample above, we have searched for the term Larm trackM. 2otice that in addition to this, you can obtain more information about any item in the Preferences settings by hovering your mouse over that item. This causes a tooltip to be displayed ne1t to the Find button. )n e1ample of this is shown below.
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? C *anaging 1rac% and 7"e& F2 ? *anaging 1rac% and 7"e& F2
Be have already covered the basic techniCues involved in using effects ;Direct 4 and T>T? with '()P(' tracks. Be are now going to look at some of the options available to help manage and use your F4 more effectively. Be8ll be looking in detail at how you use some of the more important individual plug5ins later ;Chapter %G?& in this section we8re mainly concerned with the broader issues of managing and organising plug5ins.
?.1
Grouping F2
F4 can be grouped for your convenience in any way you wish. For e1ample, 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 plug5ins ;for e1ample, Pootsy? that you use freCuently, you can create a separate group for them. Nou can create as many groups as you wish, and the same plug5in can be placed in multiple groups. For e1ample, you could place the Pootsy (picTerb plug5in both in a group called 'everb and in a group called Pootsy. 1o crea"e a F2 group: %. 7se the command Vie$9 0!o$ F2 Prowser or the keyboard shortcut 0!if" F. ,f any track is currently selected, the )dd F4 window for that track will be opened. <therwise the Prowse F4 window will open. Nou can use either. !. 'ight click over the te1t *y Fo)ders where shown ;right? and choose /rea"e ne$ fo)der. .. Type a name, then press En"er. 1o add F2 "o a group: %. >elect the category A)) P)ugCins in the left hand panel of the F4 window. This will ensure that all F4 are available to you. !. Drag and drop the reCuired F4 from the right hand panel to the folder into which you want the F4 to be listed. 7se /"r) with left mouse click to build up a multiple selection, then drag them all together. 1o disp)ay and se)ec" fro& a group %. ,n the left panel of the F4 window, click on the name of any F4 group to display its contents in the larger right hand panel. !. Double click on any F4 name within that group ;listed in the right hand panel? to add it to the current track. 1ip: ,f you leave the F2 ,ro$ser open, you can add any F4 to any track simply dragging and dropping to the reCuired track in the Track Control Panel or i1er Control Panel. 1ip: Nou can add F4 from an e1isting folder to any track directly from the TCP. 'ight5click over the F4 button and choose Add F2 from the menu, then select the folder and finally the F4.
%%.

?.2 Fi)"ering 1rac% F2
(ven with the use of Droups, finding the right F4 can still be time5consuming and frustrating if you have a large number installed on your system and are maybe looking for that something special for a particular track. ThatJs where F4 filtering can be useful. Py entering a te1t string in the Fi)"er )is" te1t bo1 in the Add F2 window for any track, you can immediately identify all F4 which match your specified criteria.
E+a&p)e 1
Nou want to e1periment with adding some F4 to a Duitar track A something time5based perhaps, perhaps something a bit different. Nou donJt really know what F4 it is that you want e1actly. Nou could start by finding out which F4 have the word guitar included in their name. %. Display the F4 window for the track in Cuestion and click on the Add button. you have selected A)) P)ugins. ,n the Fi)"er Bis" bo1, type guitar 2otice ;assuming of course that you have them?, the names of all F4 which match your filter criteria, will be displayed. >elect as many of these as you wish ;use /"r) with left mouse click to build up a selection? then click '8 to add them to the track8s F4 chain. Nou can now enable and disable these at will, e1perimenting as you wish. ake sure that on the left
!.
..
/.
E+a&p)e 2
>uppose that you are looking for something to use for (@ on a particular track, but you arenJt sure which one to use. Try this& %. !. >top and think for a moment. Bhat te1t string is likely to be common to the names of 3ust about any suitable plug5in that you might want to use+ Qow about eC+ Display the F4 Bindow for the track in Cuestion, select A)) P)ugins, click the Add button, then if any previous te1t is displayed in the filter list ;from a previous search? click /)ear Fi)"er then in the Fi)"er Bis" te1t bo1 type eC Nou can now select and use any of the items displayed. Drag and drop any item of your choice to any Track F4 button to add it to that track8s F4 chain.
.. /.
2otice that '()P(' will remember your previous filters. Nou can access them from the filter drop down list, by clicking on the down pointing arrow shown here. ,n this e1ample, previous searches have included lim ;for limiter? and e1cite ;for e1citer?.
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? C *anaging 1rac% and 7"e& F2

?.3 /)ear F2 Fi)"er 'p"ions
'()P(' offers you two options to help you determine how you would like your F4 filters to be applied.
Nou have the option to Au"oCc)ear searc! fie)d on fo)der c!ange and Au"oC c)ear searc! fie)d on c)ose. Nou can enable ;and disable? either one or both of these options via the 'p"ions menu within the Add F2 window ;see right?.
'p"ion Au"oCc)ear searc! fie)d on fo)der c!ange
E+p)ana"ion ,f this option is enabled, the Filter list will automatically be cleared when you choose a different folder for searching. ,n the e1ample shown above, this option has not been selected. This means that if you were to change your folder selection from $> to, say, Cockos, the filter would still be applied, and only those plug5 ins in the Cockos folder with delay in their name would be displayed. ,f, however, you were to enable this option, then switching from the $> folder to the Cockos folder would cause all Cockos plug5ins to be listed.
Au"oCc)ear searc! fie)d on c)ose
,f this option is selected, the Filter list will be automatically cleared when the )dd F4 window is closed. This would be the case in the e1ample illustrated above. 2e1t time the )dd F4 window is opened, all plug5ins will be displayed. ,f this option is not selected, the filter will be retained and automatically applied to your )dd F4 window ne1t time it is opened. This will be the case whether it is opened again for the current track or for any other track.
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?.> /opying 1rac% F2
)ny track F4 can be copied from one track to any other track, or tracks. Bhen a track F4 plug5in is copied in this way, the settings and parameter values are also copied with it. To do this, simply select the reCuired plug5in the F4 window of your source track, then use the mouse to drag and drop to the F4 button of any other track. This can be done either in Track Tiew or i1er Tiew.
E+a&p)e
For this e1ample, open the file A)) 1!roug! 1!e 3ig!" E:710.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 F2 ,u""on for the track G"r 3ec% to open the F4 Bindow for this track. ,nsert the V01 ReaESE/oc%osF plug5in into this window ;see above right?. Qover the mouse over the te1t T>T 'ea(@. Press and hold down the left mouse button and, holding it down, drag the mouse to point to the F4 button of the G"r ,ody track ;notice the mouse cursor position, right?. 'elease the mouse. The 'ea(@ F4 will now have been copied into this track ;see below right?.
!.
..
/.
Nou can of course repeat this as often as reCuired to copy the same plug5in to other tracks. <f course, when you copy an F4 in this way, any settings and parameter values that you have set will be copied with it. 1ip: ,f there are several plug5ins that you wish to copy from one track to another, you can select all the plug5 ins ;Click on the first then >hift Click on the last? and use this method to copy them all together.
?.?
3E(4 *oving 1rac% F2
To move ;rather than copy? a plug5in from one track to another, simply hold down the A)" key while you drag and drop it, using the method e1plained above.
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?.= Rena&ing 1rac% F2
Nou can rename individual instances of F4 Plug5ins so that the name that appears in the F4 window in both Track Tiew and in the i1er reflects mi1er displays a custom description of the F4 purpose in that particular instance. To do this, simply select the plug5in and press F2, or follow this seCuence& 'ight click over the F4 ,tem in either the F4 Chain window, or the F4 Pin in the i1er view ;see e1ample right?. From the menu, choose Rena&e F2 ins"ance. Type your custom name. Press En"er.
2ote that your custom name will only be applied to that single instance of the F4 Plug5in. <ther instances of the plug5in will not be affected.
?.@
/!anging "!e :efau)" F2 3a&e
The default name of any Direct 4 or T>T F4 plug5in can be changed by following a similar procedure to that outlined above, but this time selecting the Plug5in inside the F4 Prowser Bindow. Display the F4 Prowser Bindow ;Vie$9 F2 ,ro$ser or 0!if" F?. 'ight Click over the plug5in that you wish to rename. Choose Rena&e F2 from the menu. Type the new name. Press En"er.
2ote that you cannot change the default name of $> plug5 ins in this way.
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?.A Per 7"e& F2
'()P(' allows you to apply F4 to individual tracks and also to individual media items within a track. This can be useful when a track, for e1ample, consists of several media items, and you wish to add an effect ;such as reverb or delay? to 3ust one of the items only. ,f you have selected the option to display the F2 and F2 E&p"y item icons ;'p"ions9 Preferences9 Appearance *edia? you can click on any item8s F2 button to open its F4 window. Depending on other preferences, this button could be imposed on top of the item or it could be floating above it, and you may see other buttons. ;see right?. <therwise you can select it and use the default keyboard shortcut 0!if" E. To add a plug5in to an individual media item, follow this seCuence& >elect the edia ,tem. Display F4 Chain for that item. The Add F2 "o 7"e& window will also be displayed. Double5click on the reCuired Plug5,n. )d3ust the parameters to suit. Close the F4 Bindow. 2otice that by default, the edia ,tem will display an F4 button, together with a chain which shows the names of all F4 inserted in that media item ;see right?.
*anaging 7"e& F2
1o do "!is . *a%e c!anges "o an i"e&Is F2 /!ain :e)e"e an i"e&Is F2 /!ain a)"oge"!er /opy an i"e&Is en"ire F2 /!ain "o ano"!er i"e& Lou need "o do "!is . Click on the itemJs F4 Putton. Qold A)" while you click on the itemJs F4 Putton. Drag and drop the F4 button from one item to another.
>hown here are the settings which determine if and how the various buttons are displayed for individual media items. Be8ll return to this in detail in Chapter G, but for now 3ust notice that there are item icons ;buttons? available for an items Rocked status, F4 Chain, ute >tatus and 2otes. ,f you enable the option :ra$ 7"e& Babe)s Above Ra"!er "!an $i"!in 7"e&s then the buttons will be displayed ;with the item name? above the item. if you disable this option, they will be superimposed on the media item itself.
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?.; Using 7"e& F2 $i"! *u)"ip)e 1a%es
Bhen you use the multiple alternative takes method of recording your tracks, each take is treated as a separate media item. This means that you can insert separate F4 plug5ins into individual takes, as shown in the e1ample below.
<f course, you can insert the same F4 into each take and apply different parameters and settings for each one.
?.1
Adding F2 "o *u)"ip)e 7"e&s
,f you have several media items to which you want to add various different plug5ins, it might not always be convenient to be constantly opening and closing the different ,tem F4 Bindows. ,n this event, you can make life a little easier for yourself by following this method& Press 0!if" F or use the Vie$9 F2 ,ro$ser command to display the Add F2 ;F4 Prowser? Bindow. Nou can now drag and drop any F4 from the Prowser Bindow to any media item or media items as reCuired. There8s no need to aim for the item8s F4 button 5 you can drop it anywhere on the media item ;see below?. Do this as many times as you wish, then close the F4 Prowser Bindow when finished.
1ip& 'emember that you can keep the F4 Prowser window docked in the docker if you wish. ,f you use the docker to display the F4 Prowser window, then create a Bindows >creen >et for that view, pressing the shortcut key for that >creen >et will automatically restore the F4 Prowser to the front of the docker.
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?.11 'p"i&i-ing F2 Perfor&ance
>ome plug5ins can be Cuite greedy in their use of CP7. This especially tends to be the case with delay based F4, 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 plug5ins. These options can be found in the REAPER Preferences window ;/"r) P? under the heading Audio9 ,uffering.
ThereJs no Lone si9e fits allM optimal settings. ,t depends on various factors, including which processor;s? you are using and which plug5ins. Qowever it shouldnJt be too difficult to e1periment. 2ote in particular the following& Try using the default settings for *edia ,uffering at first. Nou can ad3ust them later. 0ync!ronous F2 &u)"iprocessing. Try turning this on if your PC has multiprocessors. An"icipa"ive F2 processing. This can yield large reductions in CP7 usage, but too aggressive a setting can cause pops and crackles on playback. ,f working with 7)D5%,for best results, both >ynchronous F4 and 7)D5% >ynchronous modes should be enabled. )nticipative F4 should be disabled. 7)D5!, however, is compatible with )nticipative F4 mode and this is recommended for best low latency performance.. 'p"i&i-e buffering )o$ )a"ency !ard$are.
,f you find that any particular plug5in or F4 chain gives you problems with media buffering or anticipative F4 processing, you can disable either or both for individual tracks using the 1rac% Perfor&ance 'p"ions on the Track Control Panel right5click menu.
%!"

?.12 'pening a Fi)e in Recovery *ode
)ny computer program will crash given the right ;or wrong+? circumstances. '()P(' is remarkably stable, but nevertheless there may be occasions when you e1perience a crash. ,n the ma3ority of cases the crash will have been caused by a problem with some third party T>T, T>Ti, D4 or D4i plug5in. ,f this happens, you should enable the option to 'pen $i"! F2 off)ine Erecovery &odeF when re5opening the file ;see right?. This will open the file with all F4 set to offline. Py reintroducing them online one at a time, you should be able to identify which is the plug5in that is causing the problem. The easiest way of fi1ing the problem would then be to remove this plug5in altogether and replace it with a different plug5in with eCuivalent functionality.
?.13
0"e& Rendering
>tem 'endering is a techniCue that can be applied to ease your CP7 load if it becomes ;or is in danger of becoming? overstressed. The item is rendered to a new track, whilst the original track remains but is automatically muted and the F4 bin is bypassed. This offers you the convenience that if you later wish to change the F4 in a stem rendered track, you can delete the rendered track, unmute the original, and make your changes. This is how it works& %. !. ,n the 1rac% /on"ro) Pane) area, right5click over the track number. From the menu, choose Render se)ec"ed "rac%s "o s"e& "rac%s Eand &u"e origina)sF or ;to render an e1isting stereo track as mono? Render se)ec"ed "rac%s "o &ono s"e& "rac%s Eand &u"e origina)sF
>tem rendering has a similar effect to a process known in some other D)B software as free9ing tracks.
,f you only wish to free9e the track F4 without creating a separate track, you should consider using App)y "rac% F2 "o i"e& as ne$ "a%e instead. This is covered later, in Chapter #. 1ip: Qovering your mouse over any trackJs F2 button causes a tooltip to be displayed, listing the plug5ins present in that trackJs F4 bin. ,t displays this information even if the F4 bin is set to bypass.
%!%

?.1> 0"e& Rendering a Group of 1rac%s
Nou can apply stem rendering to a group of tracks, so that they will be mi1ed down to a single mono or stereo wave file. To do this& %. !. .. /. Place the reCuired tracks into a folder. ,n the Track Control Panel, select the folder. Choose the Fi)e9 Render command. ake sure your selected options include 0"ereo and Render Us"e&sV Ese)ec"ed "rac%sF "o si&i)ar)y na&ed fi)es. ,f you wish, also select the option to Add i"e&s "o ne$ "rac%s in pro5ec". >elect your reCuired output format ;e.g. B)T? and format specifications ;e.g. !/ bit?. Click on Render.
E.
G.
3o"e& ,f you are working with multichannel tracks Nou can also render your output in multichannel format. Be8ll have more to say about that in Chapter %E.
,n the above e1ample, the contents of the Duitar Tracks folder have been rendered to a single stereo track and the folder has then been muted.
%!!
= C Edi"ing 1rac%s and 7"e&s =

=.1
Edi"ing 1rac%s and 7"e&s

<eadp!one *oni"oring
Bhile you are listening to and evaluating your various recorded items, itJs usually recommended practice to use the monitors ;speakers? in your studio or control room. )dditionally, however, you may wish to also use headphones from time to time, perhaps for those occasions when you need to focus on particular details on a particular track or media item. )ssuming that you have a PC, sound card or other audio device ;Firewire or 7>P? which supports multiple outputs, hereJs a neat little trick. %. )ssign 'u"pu" A)iases "o your outputs, as e1plained in Chapter %. Display your 'outing atri1 and assign the output from the aster to the Control 'oom speakers. Put on your headphones. )s you play the song, click on the appropriate cells on the routing matri1 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. aster? is being heard thru the >tudio >peakers, but
!.
.. /.
,n the e1ample shown ;above?, the entire mi1 ;from the only track 1 Vo+ is being heard thru the headphones.
'emember that you can right click over this grid cell to display the controls for this send ;such as Tolume?. This can be also a good techniCue to use when you have with you a musician who wants to particularly hear his own track while you are mi1ing: Furthermore, when you are mi1ing down, you might not wish to see all of the available routing information available A it can get Cuite comple1. Nou might wish to keep the routing matri1 display as simple as possible for the 3ob in hand. For e1ample, if you are focussed purely on mi1ing, you might not need to see all the various input assignments. 'ight clicking over the background area lets you customise its display. ,n the e1ample shown here, by unchecking 0!o$ audio !ard$are as sources we have simplified the display. ,f you have installed 'ea'oute, consider also disabling the options to 0!o$ ReaRou"e as des"ina"ions and 0!o$ ReaRou"e as sources.
%!.

=.2 /rea"ing a <eadp!one *i+
Provided your sound card includes at least two pairs of outputs, we can make the process of headphone monitoring easier and more fle1ible by creating a headphone mi1. This is how it is done. %. !. .. Connect your Qeadphones to your Qeadphone )mp, and your Qeadphone )mp to one pair of outputs. Create a new track and name it <eadp!one *i+. Choose the 'p"ions9 Preferences command, select the heading Genera) then click on the Advanced U7#0ys"e& "$ea%s . button and make sure that A))o$ "rac% enve)ope#rou"ing $indo$s "o s"ay open is enabled. Click '8 then '8 again to close the Preferences window. >elect your <eadp!one *i+ track and open the 7#' Rou"ing (indo$. )dd an Audio <ard$are 'u"pu" to the paired outputs to which your Qeadphone )mp is connected. Disable the *as"er#Paren" 0end for this track.
/. E.
G. #.
0.
Nou can now use the Pan and Tolume faders for your receives, together with the control your headphone mi1.
ute buttons, to
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= C Edi"ing 1rac%s and 7"e&s

=.3 Using an E+"erna) Edi"or
Be will shortly be showing you how to use '()P('Js editing facilities to edit your media items. Pefore that, though, itJs worth mentioning that if you have another program ;such as )dobe )udition, )udacity or >ound Forge? which you wish to use in con3unction with '()P(' for editing your items, you can do this Cuite easily. 1o specify your e+"erna) edi"ors: %. Choose the 'p"ions9 Preferences command, then display "!e E+"erna) Edi"ors screen. !. Click on the Add button .. 7se the ,ro$se buttons ;shown right? to identify and select your preferred wave editors. /. Click on '8, then '8 to close the Preferences window. 2otice that you can specify different editors for different file types, e.g. B)T, 1o use your e+"erna) $ave edi"or: There are two ways you can access your preferred e1ternal editing program from within '()P('& Do to 'p"ions9 Preferences and select the Edi"ing ,e!avior9 *ouse screen. There you can set the double5click behavior so that double clicking on an item will automatically open the editing program with that item. Bithin a '()P(' pro3ect, right click over the media item that you wish to edit. From the menu, choose either 'pen 7"e&s $i"! Edi"or then, from the sub5menu, select either the option to open the item itself or to open a copy of the item. P., idi.
,f the e1ternal 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('.
%!E

=.> Edi"ing 7"e&s in REAPER
The topic of editing items in '()P(' is a big one. '()P(' features a comprehensive range of editing techniCues, for managing the items within your pro3ects. ,f you have worked with other audio software, you might find '()P('8s ways a little strange at first. The first Cuestion you might have when you look at the screen is, LBhere are all the editing tools+M The answer is K there arenJt any: )t least, there arenJt many: Put as you are about to see, that doesnJt mean that '()P(' isnJt up to the 3ob. Nou 3ust get the wave editing features that you need, but without the screen clutter. There are some basic concepts that you need to understand about '()P('Js design philosophy and structure before learning individual editing techniCues. For e1ample& ,tem (diting in '()P(' is non5destructive. (dits made to items are uniCue per item and do not alter the content of the source file. Nou can e1periment knowing that your original recorded files are safe. ,tem (diting in '()P(' basically consists of selecting an item, or a portion of an item ;range?, then doing something to it A such as splitting it, deleting it, copying it or moving it. >ometimes, three or four steps might be reCuired to achieve an editing task. ,f there are tasks like this that you need to use freCuently, you can assign a single =eyboard >hortcut to the entire seCuence of tasks. To some e1tent, you can customise '()P('Js editing behavior thru the Edi"ing settings within your 'p"ions9 Preferences window. Be will take a look at this screen and its various options later in this section.
There are 3ust two more general issues that you need to be aware of before we move on to look at '()P('Js editing capabilities. They are& %. !. Qow '()P(' uses standard Bindows editing techniCues. The '()P(' 7ndo Qistory window.
=.?
0"andard (indo$s Fea"ures
Bithin '()P(', when youJre working on a pro3ect, most standard Bindows keyboard shortcuts and mouse behavior works pretty much as youJd e1pect them to. >ome others are less obvious. >ome e1amples are given in the table below. 1o do "!is $i"! "!e &ouse . *ove a &edia i"e& /opy a &edia i"e& Render &edia i"e& "o ne$ )oca"ion Lou need "o do "!is . Drag and drop. Qold /"r) with drag and drop. Qold /"r) and A)" with drag and drop.
1o do "!is $i"! "!e %eyboard . :e)e"e a &edia i"e&
Lou need "o do "!is . >elect it and press :e)e"e. This will remove the item from the pro3ect, but the file will not be removed from the pro3ect8s directory. >elect it and use /"r) 2 to cut, /"r) V to paste. >elect it and use /"r) / to copy, /"r) V to paste.
*ove a &edia i"e& /opy a &edia i"e&
%!G

=.= 1!e Undo <is"ory (indo$
,n addition, '()P('Js 7ndo feature is very user friendly and powerful. The Vie$9 Undo <is"ory command A or the keyboard shortcut /"r) A)" N A toggles open and closed the Undo <is"ory (indo$ ;see right?. Nou can double click on any item displayed in that window to go back to that point. The Genera) settings page under 'p"ions9 Preferences includes a section which you can use to determine the behavior of the 7ndo Qistory. ,n particular, you can& >pecify the ma1imum number of egabytes of memory to be allocated to 7ndo. >etting this to 9ero will effectively disable this feature. >pecify whether item selection and*or time selection are to be included in the 7ndo Qistory. (nsure that if the allocated 7ndo storage area becomes full, the most recent actions will be retained in the 7ndo Qistory. >ave your 7ndo Qistory with the Pro3ect File. This means that even after retrieving the file at some later date, you will still be able to revert the pro3ect to an earlier state if you wish. >tore multiple undo*redo paths. Be8ll get to some e1amples of this later.
<n the Appearance preferences page, you can enable or disable the option 0!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. Nou can click on this at any time to open and display the 7ndo Qistory window.
2ote also that the 7ndo Qistory window is dockable.
%!#

=.@ REAPER Edi"ing Funda&en"a)s
any of the basic editing tasks that you will be performing in '()P(' involve the use of fairly intuitive standard Bindows procedures for selecting and manipulating items. Qere is a summary.
0e)ec" 7"e&s
>elect an ,tem by clicking on the ,tem. The color of the ,tem will change to indicate it has been selected. >elect multiple ,tems by using /"r) /)ic%. >elect ad3acent ,tems by using 0!if" /)ic%. >elect groups of ,tems by right5clicking and dragging a marCuee around the ,tems.
0p)i" 7"e&s
,f no ,tem is selected, pressing > will split all ,tems on all Tracks at the (dit Cursor position. ,f ,tem;s? are selected, pressing > will split all selected ,tem;s? at the (dit Cursor position. ,f ,tem;s? are selected, pressing >hift > will split all selected ,tem;s? at the Time >election.
3o"e& ,f an item containing an F4 chain is split, then by default both of the resulting items will contain that F4 chain. This is illustrated below. Pefore splitK
K and after.
Nou can turn this option off on the 'p"ions9 Preferences9 *edia screen.
<ea) 0p)i" 7"e&s

To reconnect media item that have previously been split& >elect 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 se)ec"ed i"e&s.
3o"e& ,f a number of previously split items each containing an F4 chain are healed, then only the F4 Chain of the first of the items is retained. This is illustrated below. Pefore healK
K and after.
%!0

/opy 7"e&s
There are several ways to copy item*s in '()P('. 7se =eyboard >hortcut /"r) / to copy any selected ,tems. 'ight5click on an item and select /opy se)ec"ed i"e&s from the menu. >elect an item, then select Edi"9 /opy selected items. Qold down the /"r) key while dragging the ,tem;s?.
/u" 7"e&s
Cut removes the item to the Clipboard. There are several ways to Cut ,tems. 7se =eyboard >hortcut /"r) 2 to cut selected item*s. 'ight5click on a selected item and select /u" se)ec"ed i"e&s from the menu. >elect Edi"9 /u" se)ec"ed i"e&s.
Pas"e 7"e&s
There are several ways to paste items in '()P('. 7se /"r) V to paste an ,tem at the current cursor position. ,f a Track is selected, the item will be pasted into the selected Track. ,f no Track is selected, the ,tem will be pasted into the last selected Track. 'ight5click on a Track and select Pas"e from the menu. ,f a Track is selected, the ,tem will be pasted into the selected Track. ,f no Track is selected, the item will be pasted into the last selected Track. >elect Edi"9 Pas"e. ,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 selected Track.
/opy or /u" Par" of an 7"e&

Nou can copy or cut a selected part of an item to the Clipboard. >elect the item then make the time selection in the usual way. To copy the selected area, right5click on the selected item and select /opy se)ec"ed area of se)ec"ed i"e&s from the menu, or press /"r) 0!if" /, or To cut the selected area, right5click on the selected area and select /u" se)ec"ed area of se)ec"ed i"e&s from the menu, or press /"r) :EBE1E.
:e)e"e 7"e&s
Delete completely removes the item from the pro3ect. There are several ways to delete items. Bhere an item has several takes, all takes will be deleted, not 3ust the active one. 7se the :e)e"e key to delete selected item*s. 'ight5click on a selected item and select Re&ove se)ec"ed i"e&s. This will delete any selected items. >elect Edi"9 Re&ove se)ec"ed i"e&s.
*ove 7"e&s: Genera)

,tems can be moved ;that is, repositioned? using either of these methods& >elect the item to be moved, then use the mouse to drag and drop, in the standard windows fashion. >elect the item to be moved, then /u" the item. Position the edit cursor at the reCuired place, select the reCuired track and Pas"e.
%!F

*ove 7"e&s: 0pecia)
) number of keyboard shortcuts e1ist for moving items in ways that might be difficulty to control with drag and drop, or cut and paste. For e1ample& :efau)" 0!or"cu" 8ey 3u& Pad 1 3u& Pad 3 3u& Pad > 3u& Pad = 3u& Pad A 3u& Pad 2 Purpose >lide item a little to the left >lide 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
3o"e: This feature is often referred to as LnudgeM. Bith '()P(', nudging is always relative to the screen display. For e1ample, 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 display the full pro3ect. 1ip: Double click on a trackJs inde1 number in the Track Control Panel to select all the items in that track.
=.A
Edi"ing ,e!avior Preferences
Nou should be aware of at least some of '()P('Js main editing behavior preferences and how they work.
,n particular, notice that you can specify whether or not the edit cursor is relocated when the time selection is changed. Nou can also specify how '()P(' is to behave when you 9oom vertically A e.g. Bas" se)ec"ed "rac% or 1rac% under &ouse cursor. ore information about (diting Pehavior Preferences can be found in >ection %E.
%."

=.; *anipu)a"ing Areas and 0e)ec"ions
>ometimes you may wish to perform an editing action on part of a media item A for e1ample, to move or copy an area to somewhere else. ,n order to do this, you need to understand one important aspect of '()P('Js design paradigm. Pefore performing any editing action on any part of an e1isting media item, you must first select the area on which you wish to work. 3o"e: ,f in the e1amples that follow, your selection snaps so as to select an area larger than that which you are trying to select, then >napping is enabled. This will be e1plained shortly. ,n the meantime, you can press A)" 0 to toggle the snap feature off.
E+a&p)e
,n this e1ample, letJs assume that you want to select part of an e1isting waveform media item and copy it to another track. %. >elect the media item from which you wish to copy a selected area. Qold down the /"r) 8ey while you hover the mouse over the start of the area you wish to copy. >till holding the /"r) key, rig!" c)ic% and drag the mouse to mark the selected area, then release both the mouse and the Ctrl key. The area will now be marked ;see above?. 'ight click over the area to display the conte1t menu. 2otice this includes a number of commands such as /opy se)ec"ed area of se)ec"ed i"e&s, /opy )oop of se)ec"ed area of i"e&s9 /u" se)ec"ed area of se)ec"ed i"e&s, and 0p)i" i"e&s a" "i&e se)ec"ion. ,n this case, you need to choose /opy se)ec"ed area of se)ec"ed i"e&s. >elect the track to which you want the item copied, and position the cursor at the reCuired place ;see above?. Press /"r) V or choose Edi"9 Pas"e from the ain enu. The new media item will now be pasted at the cursor position ;see right?.
!.
..
/.
E.
G.
1ip& Provided that you do not copy the selected area as a loop, it doesnJt matter if you donJt Cuite get your selection e1actly right. For e1ample, you can slip5edit to the left and from the left to include any material at the start of the item that you accidentally omitted, or slip edit from the right end to the left to remove any superfluous material that you may have accidentally included. Be will cover slip5editing shortly.
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=.1 0napping $i"! /o&bined 0nap#Grid 0e""ings
Nou have already learnt how to define your grid settings. These determine whether or not a grid is displayed in your track area, and if so how that grid appears. The 0nap#Grid 0e""ings window ;shown right? can also be used if you wish to ensure that various actions and*or items are automatically snapped into position according to your settings. This, for e1ample, might be to the nearest beat. The >nap*Drid >ettings dialog bo1 is accessed by choosing the 'p"ions9 0nap#Grid 0e""ings command, or by the keyboard shortcut A)" G, or by right clicking on the Drid button on the '()P(' toolbar ;see below?. The keyboard shortcut A)" 0 is used to toggle the >nap feature on and off. Nou can decide whether you want snapping applied in all or any of the ways listed in the table below.
7"e& *edia 7"e&s
E+p)ana"ion (nsures that media items when created, moved or edited will be snapped according to your settings 5 at their start, at both the start and the end, or as determined by the mouse position at the time.
0e)ec"ion /ursor
Determines whether your time and loop selections should be snapped. Determines whether your cursor should be snapped.
2otice the 0nap :is"ance settings. These enable your snapping to be more fle1ible. For e1ample, you might set your grid spacing at, say E" pi1els, specify snap distance of, say, E pi1els and turn off the option to 0nap "o grid a" any dis"ance. This will ensure that snapping to grid will occur only when you click the mouse within E pi1els of one of the grid lines. <therwise, the cursor will be positioned at the e1act place where the mouse is clicked. 2otice that you also have the option to make snapping Re)a"ive "o Grid.
%.!

=.11 0napping $i"! 0epara"e 0nap and Grid 0e""ings
,n the e1amples discussed in the previous sections, '()P(' was set up to use the same set of snap parameters for grid display as was used for snapping. ,n other words, the snapping would take place to the nearest grid position. Nou might wish to change this, especially to reduce screen clutter. This might occur for e1ample, if you wish to use very tight snapping settings, as shown on the right here. 2otice that in this instance, as before, the option Grid snap se""ings fo))o$ grid visibi)i"y has been enabled. This produces the cluttered look shown in the first e1ample below. ,n this second e1ample, we have disabled the option Grid snap se""ings fo))o$ grid visibi)i"y.
Be have also changed the &ini&u& pi+e)s setting for grid )ine spacing, in this case to !" pi1els, whilst still specifying ;3ust below the point where the cursor is shown on the screen shot? a grid snap spacing of one eighth beats. This produces a less cluttered display on the screen, as can be seen in the e1ample shown below. The cursor position shown in this e1ample is the e1act spot that it has been snapped to A but this time the grid lines are not displayed at every single snap position. Nou have 3ust seen two e1amples. The effect of snapping is e1actly the same in both cases, but the way it is displayed is varied. The best way to learn and understand how different permutations of these settings are applied and displayed is to e1periment with them. 1ip: Bhen snapping is enabled, this can be over ridden when selecting a loop along the timeline by holding down the /"r) key while you make the selection.
%..

=.12 0epara"ing Boop 0e)ec"ion Fro& 1i&e 0e)ec"ion
Py default, your time selection is linked to your loop selection. This means that when you select a time area other than that currently selected, the loop selection changes with it. Qowever, you can change this behavior by turning off the option Boop poin"s )in%ed "o "i&e se)ec"ion ;see illustration right?. Bhen this option is disabled ;i.e. not ticked?, you can still use the A)" key while you click and drag along the timeline to change both the time selection and the loop selection together.
E+a&p)e
For this e1ample we will be assuming that Boop poin"s )in%ed "o "i&e se)ec"ion has been turned off. ,n this first e1ample, we have dragged along the timeline to create a loop.
2ow we have dragged within the track area, 3ust below the media item. ) new time selection is made within the loop area, but the original loop selection remains. 2e1t, we have right5clicked over the area and chosen 0p)i" i"e&s a" "i&e se)ec"ion from the menu. Be now have a separate item ;for e1ample, to be muted, or have any of its properties changed?, but the original loop area is still selected. Qere we have made another new time selection, which we could also edit as reCuired.
2otice that we can carry on working with different times selections, but our original loop area remains intact. ,f you wish, you can still play this loop area over and over again while working on different time selections within it.
%./

=.13 *edia 7"e& Proper"ies
Pefore working thru some e1amples of '()P(' editing in action, we 3ust need to know a little about edia ,tem Properties. )ll items have a page of property settings which help determine the behavior of that item. <ften, editing in '()P(' consists of selecting an e1isting item ;or creating a new one? and then changing its properties. To display an item8s properties, select it then press F2, or right click and choose 7"e& Proper"ies, or click on its properties button ;if visible?. Nou donJt need to understand every single one of these properties before you get started, 3ust to know where this information is accessed and changed. >ome of the properties you can set within this dialog bo1 include& Position& entering a precise figure here will move the start of this media item to e1actly that position. Rength of media item ;shown in time or beats? Fade ,n and Fade <ut& you can define both the length and the shape. Roop source& whether or not the item is looped. ute status& whether or not the item is muted. ,tem lock status& whether or not the item is locked. >elect active take and*or Play )ll Takes. )ctive take name. Py default '()P(' will use the media item file name, but you can change this. Bhether or not to play all takes. <bviously, this only applies where two or more takes e1ist. Channel mode& this is discussed on the page after this one. ,nvert phase. <pen ,tem F4 Bindow. Pitch ad3ustment. Playback rate. Bhether to preserve the itemJs pitch when the playback rate is changed. )d3ust Tolume and Pan, 2ormali9e Tolume. Bhich algorithm is to be used for pitch ad3ustment. <ption to reverse the item. 'ename the source file, or replace the source file with a different one.
>ome of these items A such as Boop 0ource, *u"e and 7nver" P!ase A are also available on the 7"e& 0e""ings menu. Be8ll get to this shortly. ,n addition, for many of them =eyboard >hortcuts either already e1ist or can be defined. Nou will be shown how to create your own keyboard shortcuts later when we e1amine the Ac"ions Bis" Edi"or.
%.E

=.1> 3E(4 *edia 7"e& 7cons
For several of the settings in the ,tem Properties dialog bo1 there are icons ;buttons? available that can be used as a Cuick way of accessing these commonly used features. The display of buttons is turned on and off in the Appearance *edia page of the Preferences settings ;see right?. >ome of the icons are listed in two columns. Ticking the options in the first column means that the icons will be displayed only when the item has been enabled ;by using a keyboard shortcut, the menu, or the ,tem Properties dialog bo1?. Ticking the options in the second column means that the icons will be displayed whether the feature is enabled or not. For e1ample, if you tick the *u"e option in the first column but not in the second, then the mute button will be displayed only when the item is muted. The button both indicates the track8s mute status and can be used to unmute it. ,f, however, you choose to tick this item in both columns then the mute button will always be displayed ;provided there is sufficient room? on all media items, and can be used as a toggle to unmute it. ,f you select Proper"ies Eresa&p)ed on)yF then the properties button will only be displayed if an item is resampled. ,n the e1ample shown ;left? we have two media items, both with lock status, notes, mute and F4 buttons displayed. The first item is muted and the second item is locked.
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7"e& 3o"es
The 2otes button ;or right click over any item and choose 7"e& 3o"es . from the menu? can be used to open a te1t bo1 that can be used to enter any te1t notes for that item. Bhen notes have been entered, a small 2otes icon will appear on the item. Qovering 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 2otes window. Bithin the 3o"es window you can click on the Boad button to load any .P2D or .$PD 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 0"re"c! "o fi" i"e&. )n e1ample of a media item displaying an image is shown here.
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Ad5us"ing 7"e& Vo)u&e
<ther than by using envelopes ;which we8ll get to in Chapter %/? there are three methods available to you for ad3usting the volume of individual media items. These are& 7sing the item volume handle. 7sing the volume fader in the ,tem Properties bo1. 2ormali9ation.
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1!e 7"e& Vo)u&e <and)e
The 7"e& Vo)u&e <and)e is the Cuickest and simplest way to ad3ust the volume of individual media items. This 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.
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Nou can click and drag with your mouse down to lower the volume level ;see first illustration?. To pick up the handle from the top of the media and increase the volume from there, hold down the 0!if" key while dragging ;see second illustration?.
Rowering the item volume handle.
'aising the item volume handle.
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1!e Vo)u&e Fader
The ,tem Properties dialog bo1 includes a hori9ontal fader ;ne1t to the normali9e button? which can be used to raise or lower an item8s volume. )fter ad3usting the level, click on App)y to apply it to the item. This method is useful especially if you are making ad3ustments to both volume and pan settings together, or if you do not wish the item volume handle to be displayed.
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3or&a)i-ing 7"e&s
The term normali9ing refers to ad3usting the volume of an item ;or selection of items? to a standard level. This can be especially useful if some of your tracks have perhaps been recorded at too low a level. To do this& %. >elect any item ;or group of items? to be normali9ed. !. 'ight click over the selection. .. Choose 7"e& processing then either 3or&a)i-e se)ec"ed i"e&s or 3or&a)i-e se)ec"ed i"e&s Eco&&on gainF from the menu. 7se 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 of each other do not select the common gain option. This can be e1pected to resulting a greater increase in volume for some items than if the common gain option had been selected. )ny individual item can also be normali9ed by clicking the 3or&a)i-e button inside the ,tem Properties dialog bo1. This is especially useful if you need to make changes to other item properties while you are normali9ing.
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=.1@ /!anging 7"e& /!anne) *ode
'ight clicking over any edia ,tem and choosing 7"e& 0e""ings from the conte1t menu chooses a sub5menu of options to be displayed. 2otice in particular that for stereo media items, you have a number of simple 7"e& /!anne) *ode options. These are& 3or&a): maintains or returns the stereo item to its original channel state. Reverse 0"ereo& swaps left and right channels. *ono E:o$n&i+?: combines both left and right channels into a single mono channel. *ono EBef"F: produces a single mono channel using only the output from the original left channel only. *ono ERig!"F: produces a single mono channel using only the output from the original right channel only.
E+a&p)es
>ome e1amples are illustrated below. 2ote that these changes are non5destructive. Nou can switch an item between these different states as often as you wish. For e1ample, to convert a stereo media item to two mono items Cuickly and easily, you can simply duplicate, then set one to ono ;left? and the other to ono ;right? *ode: 3or&a)
*ode: Reverse 0"ereo
*ode: *ono E:o$n&i+F
*ode: *ono ERig!"F G based on "!e origina) e+a&p)e
Channel
ode can also be changed from inside the
edia ,tem Properties dialog bo1.
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=.1A 0ource Proper"ies
Nou have 3ust seen how you can use the *edia 7"e& Proper"ies dialog bo1 to determine how a media item behaves within your pro3ect. Bithin that dialog bo1, you also have the option to change the media item contents with /!oose 3e$ Fi)e, or to rename the item using the Rena&e Fi)e option. ,n addition, you can right click over any item in your Track Tiew and choose 0ource Proper"ies from the conte1t menu. This displays 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. (1amples are shown below&
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REAPER Edi"ing and Audi"ioning E+a&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 techniCues. The best way to understand whatJs going on is to work thru some e1amples. These e1amples assume that you have the option to Rink loop points to time selection enabled. <pen the file A)) 1!roug! 1!e 3ig!".RPP. 7se the Fi)e9 0ave Pro5ec" As command to save it as A)) 1!roug! 1!e 3ig!" E:710.RPP. The e1amples that follow are designed to help you to learn and understand the use of '()P('. They are not intended to cover every possible feature A you can e1plore these for yourself A nor is it suggested that they represent a particularly good arrangement of this song. %. Be are going to make a copy of the Pou9ouki 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 :up)ica"e 0e)ec"ed 1rac%s. Change the name of this new track to ,ou-ou%i /opy. Press /"r) 0 to resave the Pro3ect File. Nou should do this regularly without needing to be reminded: ,n the Track Control Panel, click on the track number for the first Pou9ouki Track then hold the /"r) key and click on the track number for the second track. Poth tracks are now selected.
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/. E. G. #. Click on the 0o)o button for either track A both will be soloed. 7se the mouse to lower the volume fader on either track to around A#dP A both tracks will be lowered. )s you get near to the A#dP mark, hold the Ctrl key down for more precise movement. Qolding down the 0!if" key, move the Pan fader for the first Pou9ouki Track to around EEO left, and, still holding the 0!if" key, move the Pan fader for the second Pou9ouki track to around EEO right. 'ight click over the edia item for the second Pou9ouki Track. Choose 7"e& Proper"ies from the menu. Change the Posi"ion to : . @. Click on )pply then <=. This causes this track to be nudged # milliseconds to the right, thus adding a very small delay effect that makes the instrument sound more full bodied. Press /"r) 0. Play the >ong. Bhile it plays, hold down /"r) and click on the 0o)o button for either of the Pou9ouki tracks. This clears both the >olos.
0. F.
%". 'ight click 3ust beneath the 1rac% /on"ro) Pane) area and choose 0!o$ *as"er 1rac%. %%. )d3ust panning and volume for the various tracks to get a reasonable mi1. Nou might choose to end up with something similar to that shown on the right. Press /"r) 0. %!. ,n the e1ample shown, you might be happy with the overall balance between the different tracks, yet the overall volume of the aster might be 3ust a tad too loud in parts. %.. <pen the F2 bin for the aster and insert into it the $>*7tility Rimiter. >et the ma1imum volume in the Rimiter to A".E dialog bo1, close the F4 window, and make sure the Tolume Fader for the aster is set to "dP. Nou should now be able to play the song without clipping. %/. 2otice there is an e1tended period at the end of the song that we might wish to remove. Position the Play Cursor at around the position shown ;right?. ake sure that no track is selected, then press the letter 0 to split all tracks at the cursor mark. %E. 2ote that whereas before each track consisted of one item, each now has two items. The items ;to the right? that you have 3ust created by splitting should still be selected. %G. Press :e)e"e to remove these items. Press /"r) 0 to save. Nou should have got this message by now A weJll stop reminding you. %#. 2ow weJre going to do something really clever A weJre going to mute part of an item. To do this, weJll first need to make a separate item containing 3ust the area you want muted. %0. >elect the media item ;peak? for the Vo+ track. Position the (dit Cursor round about the EG second mark. %F. Press the P key ;0!if" O? to ma1imise the current track. Press /"r) A)" Up or /"r) A)" :o$n until the Vo+ 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. BeJre going get rid of it. !". ,f you want to hear it first, you can of course 0o)o that track and play it. DonJt forget to 7nsolo when finished.
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!%. Bith the edit cursor at or near the EG second mark, repeatedly press the R key, until the area we want to deal with occupies most of the screen. !!. Click once on the media item to select it.
!..
Click and drag 3ust below the timeline to select the region that we wish to work with ;see below?.
!/. !E. !G. !#.
'ight click over the media item and choose the command 0p)i" 7"e&s a" 1i&e 0e)ec"ion. This creates a new item, and this new item is still selected. Click on the *u"e button for this new item.. Press the P key again to return the whole of your song to the display. Play the song. 2otice that the Vo+ track is now muted during the passage that we have been working on.
!0.
Press /"r) 0 to save. BeJll be returning to this e1ample shortly.
1ip: Bhen you are playing back a song, in the course of editing you may from time to time wish to reset your T7 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 T7 meter in track view. To clear all peaks, hold down the /on"ro) key while you do this.
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=.2 Edi"ing *edia 7"e&s :uring P)aybac%
)t times you may wish to edit a media item while the pro3ect is playing and without stopping playback. For e1ample, you might wish to select and mute part of a media item. Nou can do this using the following method, which is the same whether or not you have the option Boop poin"s )in%ed "o "i&e se)ec"ion enabled& %. !. Play the pro3ect. >elect the area of the item that you wish to work with ;for e1ample, to mute, delete or copy? by holding down the A)" key and c)ic%ing and dragging $i"! "!e rig!" &ouse bu""on along the reCuired portion of the track. The result of this is shown above right. 'ight click over the selected area and make your choice from the menu. For e1ample& To remove the selected area, choose /u" se)ec"ed area. The effect of this is shown on the second screen shot ;right?. To create a separate item choose 0p)i" i"e&s a" "i&e se)ec"ion. 3o"es: %. !. Nou can do this with more than one ad3acent track at a time by simply e1tending the mouse over both tracks when you are making your selection. Nou can even do this for media items in non5ad3acent tracks. >elect the first area as e1plained above, then hold /"r) while you click on any subseCuent tracks. ,n the first of the two screen shots below, tracks % and / have had an area selected in this way. ,n the second screen shot, the same selected area has been cut from both media items.
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*anaging "!e P)ay /ursor Py default, when a pro3ect is playing, pressing 0"op ;or 0pacebarF will stop playback and return the play cursor to its previous starting position. Pressing Pause ;or En"er? will pause playback at the current play cursor position. There is, however, a third option. Nou can click on the Time 'uler, an empty area of any track or anywhere in the empty area below the last track. (ach of these will have one of two effects, depending on your 'p"ions9 Preferences9 Audio9 P)aybac% settings. 2otice the options under 0ee% p)aybac% $!en c)ic%ed. For any of these options that are ticked, clicking at any point will cause the playback to be immediately moved to that point. For any of these options that are not ticked, the play cursor will be moved to that point the ne1t time playback is stopped.
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=.21 :yna&ic 0p)i""ing C Re&ove 0i)en" Passages
'()P('8s Dynamic >plitting 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 e1ample, with a vocal track, to automatically clean up the passages between verses which might contain unwanted background noises such as breathing or shuffling sounds. >uppose that you have recorded such a vocal track. Bith dynamic splitting you can effectively tell '()P(' to go thru the track and take out all of the passages where the vocalist isn8t 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 7"e& processing, :yna&ic sp)i" se)ec"ed i"e&s. command. Nou then need to select the reCuired parameters before splitting.
Nou are given immediate visual feedback before e1ecuting 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 e1amined in more detail later, in the conte1t of tempo based music production, but when applied to this particular task it can be used as e1plained in the table below. >tart with settings similar to those shown above and ad3ust then as necessary.
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0u&&ary of :yna&ic 0p)i""ing Para&e"ers Bhen 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.
:yna&ic 0p)i""ing Para&e"er A" "ransien"s (!en ga"e opens (!en ga"e c)oses Reduce sp)i" *in s)ice )eng"! 0e""ing "o Re&ove 0i)en" Passages Deselect this option when using dynamic splitting for this purpose. Poth 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. Nou will probably need to e1periment to get it right. 7sually, this should be set to a low value. Qappily, '()P('8s dynamic splitting interface gives you immediate visual feedback. Nou can see by looking at the screen when your settings are right. The illustration below shows the effect of setting this value too high. 2otice that it can result in some recorded passages also being removed
*in si)ence )eng"! /ons"rain s)ice )eng"! Ga"e "!res!o)d
This is another parameter that will reCuire fine tuning. >et too high it will fail to catch all the periods of silence, ,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 Cuieter passages of the recorded material. >tart around 5E"dP and make any necessary ad3ustments from there. This setting can be used to ad3ust the level at which the gate closes relative to that at which it opens. ,n the e1ample shown above, the gate will close at 5G!.E dP and reopen at 5E" dP. 'aising the hysteresis figure closer to or even above "dP will have the effect of creating more splits. This option should be enabled. (nabling fade pad can help ensure a smoother transition. Reave them as shown here
<ys"eresis
Re&ove si)ence Fade Pad '"!er se""ings
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=.22 /rop Pro5ec" "o 0e)ec"ion
,n the course of recording your tracks, itJs 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 is necessary, to make sure that you donJt lose the decay of a particular instrument. <f course, you can fi1 this by slip5editing your tracks individually, then dragging and dropping them to the start of your timeline. ) Cuicker way would be to /rop pro5ec" "o se)ec"ion. To crop a pro3ect to selection, do this& %. Click and drag along the background area to mark the area that you want to keep A see picture below.
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'ight click over the Timeline and choose /rop pro5ec" "o se)ec"ion from the menu. Press Esc to remove the time selection.
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>ave the file.
1ip: ,f immediately after cropping to selection ;and before pressing Esc? you again right click over the Timeline and choose Noo& se)ec"ion from the conte1t menu, your pro3ect will e1pand hori9ontally to fit the width of your Track Tiew window. Nou can use the keyboard shortcut /"r) 3u&pad PBU0 to do this if you prefer.
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=.23 Ad5us"ing Fades
,f you select the rightmost clip in each track and 9oom in, you will see that there is a fadeout curve at the end of each item. Nou can change both the shape and duration of this curve, either using the mouse, or thru the 7"e& Proper"ies dialog bo1. %. >elect the rightmost item on each track. !. Qover your mouse over the border between the end of any track and the background area, near the top of the media item. The mouse changes to display a curved shape. .. Click and hold down the mouse button. Drag to the left to increase the length of the fadeout ;see picture left? then release the mouse. /. 2otice that the fadeout curve is now more gradual. Put we want it to start sooner. E. ake sure that these five media items are still selected. G. Place the mouse over the border between the end of any item in the selection and the background area. 2otice it changes to a hori9ontal double5headed arrow. #. Click, hold and drag the mouse a little to the left. 2otice that because the tracks now become a little shorter the fadeout, though still the same length, will begin sooner. 0. 2ow select any one of these items, right click over it and select 7"e& Proper"ies. 2otice that the new length of the fadeout has been recorded here. ,f you wish, you can also ad3ust the length of a fadeout by changing the value in the dialog bo1. F. 2otice ;above right? also that, still in the 7"e& Proper"ies dialog bo1, you can change the shape of the fade curve if you wish. This can also be changed in Track Tiew by hovering the mouse over the fade for any track ;or selection of tracks? until the mouse displays a fade curve. 'ight5click for a menu of different curve shapes 2otice that your Preferences dialog bo1 includes an area on the Pro5ec" :efau)"s screen where you can specify default fade and crossfade behavior.
1ip: Nou can change the shape of any individual fade ;in or out? by right clicking over the fade at the start or end of the media item, then choosing from the list of shapes that is displayed.
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0)ip Edi"ing
Qover your mouse over an itemJs left or right edge so that the mouse appears as a double headed hori9ontal arrow, Click and drag to the left or right ;as appropriate?, then release the mouse. )n e1ample of a single media item before slip5 editing.
Nou can slip5edit unwanted passages from the start or end of a media item by following this seCuence&
,llustrated is an e1ample of slip5editing, before and after&
)n e1ample of the same media item after slip5 editing.
0)ip Edi"ing *u)"ip)e 7"e&s To slip edit several items in different tracks, simply select all the media items reCuired ;hold the /"r) key while clicking on each item reCuired?, then slip edit any item in the selection. The e1ample on the right shows three items in three separate tracks being slip edited together. To slip edit several items in the same track, you must first ensure that the option to Use re)a"ive edi"ing $!en resi-ing i"e& edges is enabled. This option can be found under 'p"ions9 Preferences9 *edia. Nou can then select several items in the same track and slip edit them together. Bhen Use re)a"ive edi"ing is enabled, you can also apply fades to multiple media items by holding /"r) A)" when applying the fade.
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Free 7"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 e1ample if you want two or more media items to play simultaneously or to overlap on the same track. To turn this feature on& >elect the track ;or tracks? for which you wish to allow free item positioning. 'ight click over the Track Control Panel and choose Enab)e free i"e& posi"ioning for se)ec"ed "rac%s from the conte1t menu.
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The following series of illustrations demonstrates an e1ample of how this feature might be used. ,n the first screen shot ;left? we have a ain Tocal and a Qarmony Tocal on different tracks. Be might find it convenient to place these together on the same track. ,n the second screen shot, we have enabled free item positioning for the To1 ain track. 2otice that there is a small handle ;shown by the mouse cursor? which can be used to ad3ust the height of this media item. ,n the third screen shot ;below?, the media item for the To1 Qmy track has been dragged and dropped into the To1 ain track. Bhen this track is played, both these media items will play together. ,n fact, in this e1ample, Track . can now be deleted. 2otice that even after free item positioning has been enabled, you can still use the *edia 7"e& Proper"ies dialog bo1 ;F2? to ad3ust such aspects as volume and panning for individual media items.
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/o)oring 7ndividua) 7"e&s
Nou can change the colors of individual media items ;or selections of media items? by right clicking over the item ;or any item in a selection? and choosing the command 7"e& se""ings9 0e" se)ec"ed i"e&s "o cus"o& co)or. E+a&p)es ,n the e1ample shown above, our vocal track has been split into si1 individual items. Ret us suppose that these go verse, chorus, verse, chorus, verse, chorus and that for whatever reason we wish to emphasise the choruses. Be can select the three items, then right click over any of them and choose 7"e& se""ings9 0e" se)ec"ed i"e&s "o cus"o& co)or from the menu.
Be can then select any color we wish from the /o)ors dialog bo1 and click on '8. These items are now shown in the selected color.
<ther available commands include 0e" se)ec"ed i"e&s "o rando& co)or and 0e" se)ec"ed i"e&s "o one rando& co)or. To remove a custom color, choose 0e" se)ec"ed i"e& co)or "o defau)".
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=.2@ Grouping 7"e&s
Provided that Drouping is enabled A 'p"ions9 7"e& Grouping command, or A)" 0!if" G A items can be grouped together to facilitate working with them. >elect the items and use G to add them to a group. ,f you prefer, you can use the 7"e& grouping button on the '()P(' toolbar to toggle grouping on and off. ,n the e1ample shown below, items ! and / have been grouped. 2otice that for these grouped items an additional icon is displayed ;see position of mouse cursor?.
Further items can be added to a group. >elect any item in the group, then press /"r) G to select the entire group. Qold the /"r) key while you click on those items that you wish to add to the group, then press G. 2ote that U removes a selected item from a group. Nou can also use the Group commands from the right click item menu to manage groups.
E+a&p)e
Qere is a simple e1ample, using the file A)) 1!roug! 1!e 3ig!" E:710.RPP %. BeJll start by tidying up this file a little. >elect the first of the muted items on the Vo+ track, then hold the /"r) key while you select the second muted item. Press :e)e"e to remove these. This track should now comprise three items. !. Check your 'p"ions menu to ensure that Grouping is enabled. ,f it isnJt, turn it on. 2otice that by default, the keyboard shortcut A)" 0!if" G can be used to toggle ,tem Drouping on and off. .. >elect the first of the ,tems ;audio clips? in the To1 track. Qold down the /"r) key while you select in turn each of the other two items for this track. /. Press G to bind them into a group. E. Click on any other item to select it. 2ow click again on the rightmost item in To1 items group to select that. Click and drag to the right then release the mouse. 2otice that the whole group moves together. G. <bviously, we donJt really want to move our To1 items to this place. Press /"r) N to restore them to their former position. #. 2ow select the first of the To1 items and press U to remove it from the group. Click and drag to the right the last of the To1 items A this time, the first item does not move with the group. 0. Press /"r) N to undo. F. 2ow click on any media item outside the group. This deselects the group.
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=.2A G)ue 0e)ec"ed 7"e&s
Drouping items is useful when you wish to be able to work with them as a group, whilst also ensuring that each item still retains its individual properties. Bhen you group items, you will be able to later remove items from the group and ad3ust any of the settings in that item8s ,tem properties window should you wish to do so. Qowever, if you wish to permanently treat the items as one, you should consider using the G)ue se)ec"ed i"e&s command. Bhen you glue items together, a new media item is created and they become one. For e1ample, two ,D, items glued together will automatically and always open together in the same ,D, (ditor window. Two audio items glued together will now share the one ,tem properties window. =eep in mind that items 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 ad3ust one or more properties ;such as perhaps panning or playback rate? of a portion of a glued item. To glue together a number of ad3acent items in a track, follow this procedure& %. >elect 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 se)ec"ed i"e&s from the conte1t menu.
!.
E+a&p)e
,n the e1ample shown below, a track is made up of five separate media items&
Py 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.
Be then right click over this last item ;where the mouse is shown above? and choose G)ue se)ec"ed i"e&s from the menu. )s a result, the five items are 3oined into one, as shown below.
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=.2; /rea"ing and /opying 7"e&s in Penci) *ode
'()P(' includes an optional pencil mode that can be used to either create new media items or make copies of e1isting ones. Qow the feature works is determined thru the /)ic% and drag in e&p"y area of "rac% adds i"e& in penci) &ode option. This option can be found on the Edi"ing ,e!avior9 *ouse page of the 'p"ions9 Preferences window. ,f this option is enabled, clicking and holding your left mouse button over any empty area of the track background area accesses pencil mode. <therwise, you will need to hold the /"r) key while clicking to use pencil mode. Bhen pencil mode is engaged, the mouse cursor will change to resemble a small pencil ;as shown below? whenever the mouse is hovered above an empty area of the track view window. Nou can then click and drag to create the reCuired item. Py default, the item drawn will be an empty ,D, item. Qowever, if you select any e1isting item before drawing, pencil mode will create a copy of that item, starting at the position of your mouse cursor.
E+a&p)e
,n the above e1ample, the second of the tracks shown has free item positioning enabled, and the mouse behavior setting is as shown at the top of this page. Be have selected the item in this track, then used /"r) with click and drag to create a copy of this item underneath it. 1ip: 'emember that you are able within your 0nap#Grid 0e""ings to determine whether media items, including those created in pencil mode, should be automatically snapped according to your snap settings.
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Ripp)e Edi"ing
'ipple editing is a good way to perform an edit within a busy timeline and maintain sync relationships. Bhen you perform a ripple edit, you are essentially ad3usting the duration of a clip by manipulating its ,n and <ut points and by doing so the items beyond the edit points are ad3usted by the same value. To access 'ipple (diting, choose the 'p"ions9 Ripp)e edi"ing command, or use the keyboard shortcut A)" P, or use the /yc)e Ripp)e Edi"ing *ode button on the main toolbar. The same action ;choosing the command or using the shortcut? toggles the 'ipple (diting status between three states& 'ff: This is the default mode. ,tems will not shift when you do edits on a track. 'ne 1rac%: ,f you select the ripple editing option once, it will select one track ripple editing. This means anything you do to items on that track will affect other items of the same track.
%E%

A)) 1rac%s: ,f you select the ripple editing option once more, it will enable the )ll tracks ripple editing. This means anything you do to )2N of the items on )2N track will affect the (2T,'( pro3ect. Qelpful 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. 7sing this mode on multiple tracks is very useful for editing multitrack recordings of live material 5 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 items? then delete the middle piece, the remaining pieces 3oin up, but unlike with a normal stereo editor, you can ad3ust the 3oin 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 3oin it. )ll items to the right of the dragged item will stay together and markers and automation will move correctly too. E+a&p)es
The three illustrations below show the effect of copying the third media item in the first track shown above, then pasting the copy in between the first two media items on the same track. ,n the first instance, 'ipple (diting is set to 'ff. ,n the second instance, 'ipple (diting is turned on for 3ust the 'ne 1rac%. ,n the third instance, 'ipple (diting is turned on for A)) 1rac%s. Ripp)e Edi"ing 'ff: 2one of the e1isting media items are moved to make more room for the new one.
Ripp)e Edi"ing 'ne 1rac%: edia items are moved over only on the track in which the new material is inserted.
Ripp)e Edi"ing A)) 1rac%s: edia items are moved over on all tracks.
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=.31 1ri& "o 0e)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. $ust follow this seCuence& %. !. .. >elect the media item ;or items?. 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 1ri& 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. T 1ip: ,f your 0nap#Grid 0e""ings are set to include *edia 7"e&s, then provided that snapping is enabled, snapping will be applied when you select the area to be trimmed..
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2ena%ios E+"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 freCuently. This might include, for e1ample, actions as diverse as lining up a selection of items with the edit cursor, or ad3usting the volume on an entire selection of media items in one action. Nou will find that many of these actions A and much more 5 are available as a plug5in to '()P(' by downloading and installing the 2ena%ios E+"ensions Pack, which has now been merged with the >B> e1tensions. To do this, you simply follow this seCuence& %. !. .. /. Do to !""p:##$$$.s"anding$a"ers"udios.co& Follow the instructions to download the correct version for your operating system. )fter downloading, run the download program. >tart '()P(' in the usual way.
Nou will now find that there is an additional command A E+"ensions A on the '()P(' main menu ;see right?. These commands are also available on the right click conte1t menu for media items. '()P(' is being constantly improved, as are these e1tensions. Nour menu may not be identical to that shown here. Pe prepared to e1plore this menu and its various submenus for yourself. >ome of the actions that you might find especially useful ;from the E+"ensions9 7"e&#1a%e 0e)ec"ion and 7"e&#1a%e *anipu)a"ion menus? include& *ove 0e)ec"ed 7"e&s 1o Edi" /ursor 1ri&#Un"ri& 7"e& Bef" Edge 1o Edi" /ursor 1ri&#Un"ri& 7"e& Rig!" Edge 1o Edi" /ursor Rena&e 0e)ec"ed 1a%eEsF /!oose 3e$ 0ource Fi)e For 0e)ec"ed 1a%es 0e)ec" Firs" 1a%e 7n 0e)ec"ed 7"e&s 3udge 7"e& Vo)u&e :o$n 3udge 7"e& Vo)u&e Up Rese" 7"e& Vo)u&e 1o . 0e" Vo)u&e And Pan 'f 0e)ec"ed 1a%es 0e" Vo)u&e 'f 0e)ec"ed 7"e&s 0e)ec" Bas" 1a%e 7n 0e)ec"ed 7"e&s
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E+a&p)e
The 4enakios (1tension Pack contains so many useful items that it would reCuire an entire separate manual to e1plore all of the options. >ome of these commands apply to tracks and are available by right5clicking on the track name or number and choosing 2ena%ios E+"ensions from that menu. <thers apply to items and are available by right5clicking on the item and choosing either E+"ensions: 7"e&#1a%e 0e)ec"ion or E+"ensions: 7"e&#1a%e *anipu)a"ion from the menu. Ret8s look at one simple e1ample to get you started. ,n this e1ample you will be shown how to use one of these items A 0e" Vo)u&e of 0e)ec"ed 7"e&s. ,tJs then up to you to e1plore the other 4enakios (1tension commands.
This e1ample reCuires that you have already downloaded and installed the 4enakios (1tension Pack.
%. !. .. <pen the file A)) 1!roug! 1!e 3ig!".RPP and immediately save it as A)) 1!roug! 1!e 3ig!" 2E3.RPP. Click on the media item called G"r ,ody.&p3 then hold the /"r) key while you click on the media item G"r 3ec%.&p3. Poth items should now be selected. 'ight click over either selected item, and choose E+"ensions: 7"e&#1a%e *anipu)a"ion from the menu, then 0e" Vo)u&e of 0e)ec"ed 7"e&s. ) prompt 0e" Vo)u&e of 7"e&s will be displayed. Type G2 ;as shown right? and press En"er. 2otice that both these media items have now been lowered by ! decibels.
/. E.
)s you e1plore the various 4enakios e1tension commands, you will see that many of them use parameters. For e1ample, you will come across commands like 0e" fades of se)ec"ed i"e&s "o /onfigura"ion A, 0e" fades of se)ec"ed i"e&s "o /onfigura"ion ,, 0e" se)ec"ed "rac% !eig!" "o A, and 0e" se)ec"ed "rac% !eig!" "o ,. Nou define the values that you want assigned to these parameters in the /o&&and Para&e"ers window, accessible from the E+"ensions command on '()P('8s main menu ;see right?. ,f you find the sheer number of these e1tension commands a little intimidating at first, you can use the /onfigure *enu En"ries command from the E+"ensions command on '()P('8s main menu to hide those 4enakios e1tension commands that you feel you are less likely to need.
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@ C Arranging and Edi"ing *u)"ip)e 1a%es @ Arranging and Edi"ing *u)"ip)e 1a%es
(arlier, in >ection ., we looked at how you can create multiple takes when you are recording. The editing and arrangement techniCues that you have already learnt can also be applied to editing a pro3ect with multiple takes. <f course you have a number of options at your disposal for doing this. This e1ample is intended really to get you thinking about how you might approach the task. Nou have two main methods at your disposal. Nou can either& (1plode the takes to new tracks. Nou can then work on and edit each track separately and ;if you wish? 3oin them all back to a single track when you have finished, or Bork on and edit the various takes all within the single track on which they were recorded. Be8ll get to this method later in this section.
@.1
E+p)oding 1a%es "o *u)"ip)e 1rac%s
Be8ll start by looking at the first of these two methods. RetJs suppose that we have recorded three takes of a vocal track. Qere we can right click over the item and use the 1a%e9 E+p)ode a)) "a%es "o ne$ "rac%s command.
2otice that this command creates ;in this case? three e1tra as yet unnamed tracks A the original track with its three takes is still intact. )fter auditioning, we have decided which parts we want to use from each take. ,n the ne1t 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 the various techniCues that have been covered in Chapter G.
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Finally, we select the various items from tracks . and / and use the 3u& Boc% A key to move them up to track !. Track % is now muted and could of course be hidden of we wish. Tracks . and / serve no further purpose and could be deleted.
Nou could now select all of the items in track ! and use the G)ue 0e)ec"ed 7"e&s command to bind them together as one media item. 2otice here 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 selections that have gone into making up the new Track ! if we wish to.
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/rossfades
,f you intend to arrange your media items so that they overlap at all, 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 /rossfade button on the main toolbar ;or the keyboard shortcut, A)" 2?. The curves of crossfades can be edited like any other. Nou can e1tend the crossfade in either direction by moving the fade bars ;so long as there is material left in the item? and that if you press shift while dragging the crossfade, you can slide it bodily to a new crossfade point. 7sing these techniCues can ensure that an otherwise abrupt edit is smoothly disguised by a gradual transition at the best edit point.
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E+p)oding 1a%es in P)ace
)nother interesting option is to use the 1a%e9 E+p)ode a)) "a%es Ein p)aceF command. This has the effect of merging all takes on the track into a single take. Qere8s an e1ample of when you might wish to do this. The track shown here includes a lead vocal that runs the whole length of the track and two more takes of vocal harmonies for the choruses only. These have had their individual item properties ;such as pan and volume? ad3usted to give you the sound that you want. Py e1ploding all takes in place, all this material is written to a single take on a single track, so that you can now treat it as one vocal item for the purposes of setting an overall volume level, adding F4 and so on.
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@ C Arranging and Edi"ing *u)"ip)e 1a%es

@.> Edi"ing *u)"ip)e 1a%es
Nou don8t need to e1plode takes to multiple tracks in order to edit them. ,n this section we8ll see some of the ways in which you can edit your takes all within a single track.
0)ice and :ice

Bhen you choose the 'p"ion to 0!o$ a)) "a%es in )anes E$!en roo&F there is a neat techniCue 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 0p)i" the track in as many places ;and at the e1act points? that you think appropriate, then select from each slice your preferred section. )n e1ample is shown below&
Track % has been sliced in si1 places to create seven sections. For each section, the take shown with the light background has been selected. Bhen the track is played, they will play seamlessly together as if they were a single take. )fter completing the slice and dice, thereJs no need any longer to show the separate layers&
Nou can also right click over the trackJs media items and choose the 1a%e9 /rop "o ac"ive "a%e command to discard the unwanted segments. 1ip: Bhen you use Ranes and >lice and Dice in this way, you can use the 2um Pad keys % and . to slide items left or right if their timing is slightly out of sync with other takes. The e1act amount by which these keys will slide your selected media item;s? will depend on how closely you are 9oomed in or out.
P)ay A)) 1a%es

Nou have the option, if you wish, of playing all takes in a track. Nou might wish to use this, for e1ample, for a double5tracking or vocal harmony effect. $ust right5click over one of the takes and choose 7"e& se""ings9 P)ay a)) "a%es.
Fur"!er E+p)ode and 7&p)ode 'p"ions

)s well as being able to E+p)ode a)) "a%es "o ne$ "rac%s and E+p)ode a)) "a%es Ein p)aceF you have a number of other related 1a%e menu choices. These are& E+p)ode a)) "a%es Ein orderF& This e1plodes all takes within the selected track and places them seCuentially one after the other. 7&p)ode se)ec"ed i"e&s across "rac%s in"o "a%es& Creates a new track using the selected items as takes on that track. 7&p)ode se)ec"ed i"e&s on sa&e "rac% in"o "a%es& Converts the selected items ;on one track? into a series of takes on that track.
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@.? 1a%e Enve)opes and 1a%e F2
Be8ll have a lot to say about envelopes in Chapter %/, including how to manage and edit them. For now 3ust notice that you can create any of three envelope types for any or all of your takes. These are volume envelopes, pan envelopes and mute envelopes. )ll three options are available from the right5click 1a%e menu. ,ndividual takes can also be assigned their own F4. >elect the take and press 0!if" E to display the F4 Bindow for that take. )lternatively, you can use the command 0!o$ F2 c!ain for ac"ive "a%e from the right5click 1a%e menu. This menu also includes a command to Re&ove F2 for ac"ive "a%e.
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App)ying F2 "o 7"e&s as 3e$ 1a%es
)nother important use that you may have for takes is to apply track F4 to items as new takes. Nou might wish to do this if you are running low on CP7. 'emember that you can consult '()P('Js Perfor&ance *e"er to show how much CP7 is used by F4 on a track by track basis. $ust suppose that you notice that one or more of your tracks are particularly CP7 intensive. QereJs what to do& %. !. >elect all of the tracks involved. 'ight click over any of the selected media items and from the conte1t menu choose App)y "rac% F2 "o i"e&s as ne$ "a%e if you want a stereo take, or App)y "rac% F2 "o i"e&s as ne$ "a%e E&ono ou"pu"F if you want your new take to be ono. ,f the items are ,D, items, you may choose the option App)y "rac% F2 "o i"e&s as ne$ "a%e E*7:7 ou"pu"F. ake the new take active and click on the F2 enab)ed#F2 disab)ed toggle button for the track;s? in Cuestion, in order to disable the track F4.
..
<f course, at any time you can re5enable the Track F4, make any changes to the Track F4 settings, or make changes to your track F4 chain, and apply your changes again as a new take. This process of applying a trackJs F4 as a new take is in some respects similar to >tem 'endering. ,t effectively serves the same function as free9e and unfree9e in some other D)B applications.
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%. !. ..
/rea"ing a :up)ica"e 1a%e

>elect the reCuired take. 'ight click over the media item. From the conte1t menu, choose the 1a%e command, then :up)ica"e ac"ive "a%e ;see below?.
To create a duplicate of any take, follow this procedure&
@.A
/rop "o 1a%e
Crop to Take can be used when you have finally sorted out e1actly which portions of each take you wish to keep for your track. Py right5clicking over the current active take and choosing 1a%e9 /rop "o Ac"ive 1a%e from the menu you can ensure that all of the unwanted take portions and segments are removed from the track. This can make managing the track easier.
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@ C Arranging and Edi"ing *u)"ip)e 1a%es

@.; Reversing 7"e&s as 3e$ 1a%es
The Reverse i"e&s as ne$ "a%e feature of '()P(' can be used to create some interesting effects. Nou can reverse an item as a new take by following this procedure& %. !. .. >elect the edia ,tem. 'ight click over it. Choose Reverse i"e&s as ne$ "a%e from the menu. ,f you wish to play both the original track and the reversed track together and at the same time, you can do so by selecting the item, pressing F2 to display the 7"e& Proper"ies settings and selecting the option to P)ay a)) "a%es. ,f you wish to send the reversed take to a different track altogether, select the item, right click over it, then choose the 1a%e command then E+p)ode a)) "a%es "o ne$ "rac%s.
2otice that&
@.1
3on :es"ruc"ive Edi"ing
Be mentioned earlier that '()P(' uses non5destructive editing. Qere is a short demonstration of what this means in practice& %. !. .. /. E. G. #. 0. Position the (dit Cursor about %E secs into the song and at that point select the media item for the first track in your file A)) 1!roug! 1!e 3ig!" E:710.RPP There should be 3ust one clip for the entire track. Press 0 to split this track. The rightmost item should now remain selected. Press :e)e"e to delete this. That of course was a deliberate mistake. <f course, you could press /"r) N to undo this, but letJs suppose that youJve not noticed the mistake until perhaps a few days later. Press /"r) 0 to save the file, then close '()P('. <pen '()P(' again, and make sure this file is displayed. Position your mouse over the boundary between the end of your truncated item and the background area, so that it displays a double5headed arrow. Click, hold and drag the mouse to the right all the way to the end of the song. 2otice that the original clip is restored. )ll you need do is redraw your fadeout curve: >ave the file.
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A C Boops9 *ar%ers and Regions A

A.1
Boops9 *ar%ers and Regions

/rea"ing Boops
)ny )udio, ,D, or Click >ource ,tem can be looped. The loop point is defined by the duration of the source edia. ,f you insert an item that is four bars long, it will loop every / bars, if it is 0 bars, it will loop every 0 bars, etc.
1o Boop an en"ire 7"e&&

%. Qover the mouse over the an edge of the ,tem until the Cursor changes to a double5 headed arrow ;see right?. !. Drag the Cursor to e1tend the ,tem. (ach loop point will be indicated by a notch in the item edges. (1tend as reCuired. .. The length, start time and end time of the looped item will be displayed as you drag the edge of the loop.
/ropping and Booping:

,f you wish to loop only part of an item, then the item must first be cropped and glued. %. )s before, hover the mouse over the edge of the ,tem until the Cursor changes to a double5headed 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 from the menu choose G)ue se)ec"ed i"e&. .. 2ow drag the Cursor to e1tend the ,tem. (ach loop point will be indicated by a notch in the edges of the item. (1tend the loop as reCuired.
/!anging P)aybac% Ra"e:

There may be times when you will wish to change an item8s playback rate. Taking the same e1ample as above, if you were to display the 7"e& Proper"ies bo1 for the original item, make sure that Preserve pi"c! $!en c!anging ra"e is selected and change the P)aybac% ra"e to %.!, then this would have the effect shown on the right. The original item ;looped? is shown on the right above the modified item ;also looped?.
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/rea"ing a Boop fro& a 1i&e 0e)ec"ion
)nother method is to select the reCuired item, highlight the reCuired part of the item as a time selection, right click, choose /opy )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& %. !. .. /. >elect first the source item, then select the area that you wish to loop ;see above?. 'ight click and choose /opy )oop of se)ec"ed area of i"e&. Bith the area still selected, press :e)e"e to remove it. Press /"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.
A.2
/rea"ing and 3aviga"ing $i"! *ar%ers
arkers are like bookmarks. They can help you when you are navigating, arranging and editing your pro3ects. arkers are inserted at the current (dit Cursor position. They can be inserted at any time, whether or not the pro3ect is being played. /o&&and 7nser" *ar%er 7nser" *ar%er Eand pro&p" for na&eF Rig!" c)ic% &ouse over *ar%er :efau)" 0!or"cu" * 0!if" * Effec" ,nserts numbered position arker at present
,nserts numbered arker at present position and prompts for a marker name. Displays menu with options to 'emove arker or (dit arker
8eyboard 0!or"cu"s
Default =eyboard and *ouse#8eys"ro%e 1 on main keyboard, not 2um Pad thru ; on main keyboard, not 2um Pad. ouse >hortcuts for creating and navigating with markers are& :efau)" Func"ion Do to Do to arker % thru F arker %" arker or Pro3ect (nd arker or Pro3ect >tart
on main keyboard, not 2um Pad.

W X Rig!" /)ic% on 1ranspor" ,ar :oub)e c)ic% on "i&e)ine be"$een "$o &ar%ers /)ic% and drag &ar%er a)ong "i&e)ine :oub)e c)ic% on *ar%er A)" /)ic% on *ar%er
Do to ne1t
Do to previous
Displays menu. Choose Ju&p "o &ar%er to go to any arker. >elect area between the two markers. oves the (dit the arker.
arker. arker.
'emove the
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A C Boops9 *ar%ers and Regions

E+a&p)e
This e1ample illustrates the use of markers. %. <pen the sample file A)) 1!roug! 1!e 3ig!".RPP and straightaway save it as A)) 1!roug! 1!e 3ig!" *AR8ER0.RPP !. Play the song. $ust before the place where the vocal starts. Press 0!if" *. Bhen prompted, type as the name Verse 1 0"ar" and press En"er .. )t the end of the first verse, press 0!if" * again, name this marker Verse 1 End and press En"er. /. Create similar markers for the start and finish of Terse ! and Terse .. These will be at or around %&"", %&.0, %&/G and !&.E E. >ave the file. G. Press 1 on your keyboard ;not the numeric keypad?. 2otice the edit cursor 3umps to the start of Terse %. #. Press 2. 2otice it 3umps to the end of Terse !. 0. Double click on the Timeline between markers ! and .. 2otice that this area is now selected. F. 'ight click over the timeline and choose Noo& se)ec"ion. Nou could now do any close editing work reCuired for this selection. %". Press Esc to clear the selection, then /"r) Pg:n to restore the whole pro3ect to view. >ave the file.
A.3
0napping "o *ar%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 present?. Consider the portion of the 0nap#Grid 0e""ings shown on the right. 2otice that snapping has been enabled, with a snap distance of %" pi1els defined. Bith snapping disabled, it can be Cuite difficult to make a selection which ends e1actly at a marker. Bhen you attempt to make such a selection, you might end up with the selection shown in the first of the screen shots below. 2otice that the end of the selection doesn8t Cuite match the marker. Qowever, in the second e1ample shown, with snapping enabled and the settings shown above, as soon as you drag the selection to within %" pi1els of the marker position, the selection will automatically snap to the marker.
2otice the effect of making e1actly the same selection with the above snap settings disabled ;left? and enabled ;right?.
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A.> Reposi"ioning and Rearranging *ar%ers
,f you want to reposition any of your markers you can, of course, do this by dragging them along the timeline. Qowever, it is sometimes smarter to use keyboard shortcuts to do this. This is especially likely to be the case, for e1ample, if you want to insert a marker out of seCuence, or between two e1isting markers. 8eyboard 0!or"cu" /"r) 1 /"r) 2 /"r) 3 /"r) > /"r) ? /"r) = /"r) @ /"r) A /"r) ; /"r) E+a&p)e ,n the first screen shot ;below?, a pro3ect contains two markers, one at the start and one at the pro3ect. :efau)" Func"ion )dd )dd )dd )dd )dd )dd )dd )dd )dd )dd arker % at, or move it to, the current edit cursor position. arker ! at, or move it to, the current edit cursor position. arker . at, or move it to, the current edit cursor position. arker / at, or move it to, the current edit cursor position. arker E at, or move it to, the current edit cursor position. arker G at, or move it to, the current edit cursor position. arker # at, or move it to, the current edit cursor position. arker 0 at, or move it to, the current edit cursor position. arker F at, or move it to, the current edit cursor position. arker %" at, or move it to, the current edit cursor position.
>uppose that we now wish to reposition edit cursor there and then press /"r) 2.
arker ! at the start of the second verse. Be can simply position the
2ow let us suppose that we want to create arker / at the end of the song, reserving arker . for a position as yet unspecified. Be can position the edit cursor at the end of the song and press /"r) >.
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A.? Re&oving *ar%ers
There are two main methods of removing unwanted markers. 1o re&ove a sing)e &ar%er . Position the mouse over the marker LflagM and hold down the A)" key while you click the left mouse button. )lternatively, you can right5click over the marker flag and choose Re&ove *ar%er from the conte1t menu. 1o 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 3ust above the marker LflagsM within the time selection, and choose Re&ove a)) &ar%ers fro& "i&e se)ec"ion from the conte1t menu.
A.=
Regions
'egions essentially take the idea of markers one step further. Nou can create regions for your pro3ects, making it easy to identify, select and work with different passages of a song. *ouse#8eys"ro%es#/o&&and 0!if" R or Rig!" /)ic%9 Add Region fro& 0e)ec"ion 0!if" :oub)e c)ic% on Region icon. :oub)e c)ic% on region icon, or Rig!" /)ic% on region icon9 0e)ec" Region A)" /)ic% on region icon Effec" Create a new region, based on the current selection. To change name or other properties of the region. akes the area of the region the current selection 'emoves the region.
1o crea"e a Region fro& "$o e+is"ing *ar%ers . %. !. .. %. !. ake sure the 'p"ion for Booped poin"s )in%ed "o "i&e se)ec"ion is enabled. Double click above the timeline between the markers to make the selection. 'ight click and choose Add region fro& se)ec"ion. Click and drag across the background area of the Track Tiew to make the selection. 'ight click and choose Add region fro& se)ec"ion.
1o crea"e a Region fro& scra"c! .
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E+a&p)e of $or%ing $i"! Regions
%. ake sure that the 'p"ion for Booped poin"s )in%ed "o "i&e se)ec"ion is enabled. !. ,n the file A)) 1!roug! 1!e 3ig!" *AR8ER0.RPP, double click on the timeline between your first two markers. This causes this area to be selected. .. 'ight click over the timeline, between the markers, and choose /rea"e Region fro& 0e)ec"ion. /. 'ight click over the new regionJs icon, then choose Edi" Region. Type Verse 1 and press En"er. E. Double click on the timeline between markers three and four to select this area. Press 0!if" R to define a region. 'ight click over the icon for this region, choose Edi" Region, type Verse 2 and press En"er. G. 'epeat this process using the area between markers five and si1 to create a Terse . region. =eep this region selected. #. Press /"r) with the R on the 2umeric Pad. This 9ooms in on that region. 0. Press /"r) Pg:n to restore the whole pro3ect to the screen. F. Press Esc to remove the current selection. %". >ave this file.
1ip: <nce you have created regions, you can move them around, by dragging and dropping the 'egion arker, 3ust above the Timeline.
A.@
/!anging "!e Pro5ec" 1i&ebase
Nou can select Time, Peats ;position, length, rate? or Peats ;position only? as the timebase for your envelopes, events and markers. To do this& %. !. Press A)" En"er to display the Pro5ec" 0e""ings window. ake your choice from the drop down list ;right?, then click on '8.
Nou can also change the beat by clicking in the ,P* bo1 ;on the Transport Par? and entering a number.
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A.A *ar%ers and *edia /ues
,f you need to share your media files with other applications that use media cues ;for e1ample, >ound Forge? you can convert your markers to media cues when rendering. '()P(' also has an option on the Tiew menu ;enabled by default? to show media cues where they e1ist on imported media items. oreover, you can use the 7"e& Processing command to create markers within '()P(' for these media cues.
E+a&p)e
%. !.
,n the screen shot shown above, our pro3ect includes a number of markers& Be can now render the file ;using the Fi)e9 Render? command, making sure that we select the option to (ri"e &ar%ers as cues. ,f the rendered file is later imported back into '()P(', perhaps in a new pro3ect file, we can see that the media items contains cues which correspond e1actly with the original markers. This is illustrated below. 2otice the series of vertical broken lines which indicate the positions of the media cues.
..
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,f we now select the media item then right click and choose 7"e& processing then 7&por" &edia cues fro& se)ec"ed i"e&s as pro5ec" &ar%ers then a set of '()P(' markers is automatically created to replace the media cues.
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A.; *anaging *ar%ers and Regions
) Program (1tension is available, courtesy of >B>, which can be used to help you manage your markers and regions. For e1ample, it can be used to renumber your markers, or to save and recall different sets of markers for different tasks. To obtain and install this e1tension, follow this seCuence& %. !. .. Do to !""p:##s"anding$a"ers"udios.co&#reaper and download the >B> e1tensions from there. ,nstall the downloaded file K. ,t will find the correct directory for you. >tart '()P(' in the usual way. Nou can now access the e1tension commands by choosing 0(0 *ar%er u"i)i"ies from '()P('Js Edi" *enu.
E+a&p)es
,n the e1ample below, four markers have been created to mark the beginning and the end of the lead vocal in both of the first two verses. 2otice, however, that these are numbered in the order in which they created, which is not in seCuence. Py displaying the Edi" menu and choosing 0(0: *ar%er u"i)i"ies and then Reorder &ar%er 7:s we can ensure that these markers are numbered correctly.
2ow letJs suppose we need to work on the Duitar Tracks. Be can save our To1 track markers ;in case we need them later?, and create a new set of markers to help us work with our Duitar tracks. ,n this case we can use Edi"9 0(0: *ar%er u"i)i"ies9 0ave &ar%er se" to save the set. ,n this case, we save it as Bead Vo+. Be can now use the command Edi"9 0(0: *ar%er u"i)i"ies9 :e)e"e a)) &ar%ers ;not Delete marker set? to remove them, then create our new markers as shown below. Be can again use Edi"9 0(0: *ar%er u"i)i"ies9 0ave &ar%er se" to save the new set of markers. ,n this case, we save it as Gui"ars.
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Be can now use the command Edi"9 0(0: *ar%er u"i)i"ies9 Boad &ar%er se" to switch between our different sets of markers for different editing tasks.
2otice that you can use Edi"9 0(0: *ar%er u"i)i"ies9 0!o$ 0(0 *ar%er Bis" to display the arker Rist window. This can be used to help you manage your markers, using the right click menu commands ;see left?. 2otice also that included on that menu are the options to load any of your named marker sets. Nou can also click on any position shown in the Time column to immediately move the cursor to that marker. ,n Chapter %. we8ll be looking at how you can assign your own keyboard shortcuts to various '()P(' commands and actions. Nou can also assign keyboard shortcuts to any of the >B> marker management commands. 2otice that the >B> also dockable. arker Rist window is
0u&&ary of 0(0 *ar%er#Region U"i)i"y /o&&ands

/o&&and 0!o$ 0(0 *ar%er Bis" E+p)ana"ion <pens and displays the *ar%er Bis" window. This stays open until you close it. Displays the Boad *ar%er 0e" prompt for you to select any previously saved marker set to be loaded. >aves all current markers into a new set. Prompts you for a name before doing so. Displays the :e)e"e *ar%er 0e" prompt for you to select any previously saved marker set to be deleted.
Boad *ar%er 0e" .
0ave *ar%er 0e" .
:e)e"e *ar%er 0e" .
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0u&&ary of 0(0 *ar%er#Region U"i)i"y /o&&ands
/o&&and /opy &ar%er se" "o c)ipboard E+p)ana"ion Copies all current markers into the Bindows clipboard. These can be pasted into another '()P(' pro3ect if you wish. This can be useful, for e1ample, if you have more than one pro3ect file all of which are different versions of the same pro3ect. Pas"e &ar%er se" fro& c)ipboard Pastes into the current pro3ect all markers previously copied into the Bindows clipboard. 'enumbers all currently displayed markers, from left to right. Nou should definitely consider using the )ction Rist (ditor to assign a keyboard shortcut to this one. 'enumbers all currently displayed regions, from left to right. Deletes all currently displayed markers, but does not affect the contents of saved marker sets. Deletes all currently displayed regions. (1ports track list. Rets you specify which information is to be included when the list is e1ported to the clipboard.
Reorder &ar%er 7:s
Reorder region 7:s :e)e"e a)) &ar%ers
:e)e"e a)) regions E+por" "rac% )is" "o c)ipboard 1rac% )is" for&a"
A.1
A.1 .1
1e&po ,ased *usic Produc"ion

1i&e ,ased *usic ,asics
'()P(' incorporates a number of features which make the program a good choice for tempo based music production. >ome of these elements ;such as creating loops and various item properties? have already been mentioned in the conte1t 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 seCuencing 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, has always been sound Cuality. There are any number of human performance techniCues and subtle variations that it is virtually impossible to simulate with ,D,. Qowever, 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. Take the e1ample of drum loops. <ne of the biggest problem with using samplers to trigger drum loops has been that when the tempo changes, so does the pitch. >amplers 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 well nigh impossible to get the e1act tempo you want without having to open the sampler and make ad3ustments to the loops.
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Today, however, there are any number of tools available that can do all this for you. The time and pitch altering tools that come with '()P(' use high Cuality 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 '(4 grooves automatically arrange themselves to the pro3ect tempo on import. Pring 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 55 magic: They move all over the place but remain e1actly in rhythmic time according to the tempo. 7sing '(4 files you are able to play back loops at different tempos without altering the pitch. Nou8re on your way to being able to create drum loops and other sounds e1actly the way you want them, and with relatively little effort. Be8ll have more to say about 'eCycle later, and indeed about '()P('8s own dynamic splitting capabilities which puts this magic at your disposal. )fter dynamic splitting, you merely need to double click in the PP area of the transport bar, enter a number and, hey presto: The whole track plays faster, or slower, in perfect pitch. Bhat8s more, the whole track will speed up or slow down naturally, without glitches, pauses or stuttering.
A.11
Pro5ec" 0e""ings
Pefore creating any music, you should make sure that your pro3ect settings are specified correctly. To display the pro3ect settings dialog bo1, press A)" En"er or choose the command Fi)e9 Pro5ec" 0e""ings. from the main menu. ,n particular, check the following& 7nder Pro5ec" 0e""ings, Pro3ect Peats per 7nder Pro5ec" 0e""ings, Time >ignature. 7nder Pro5ec" 0e""ings, Timebase for events. Nou can select Time, Peats ;position, length, rate? or Peats ;position only?. 7nder Audio 0e""ings, Default pitch shift mode and parameter. inute.
Nou can change properties such as Peats per inute and Time >ignature as often as you need to during the song. For e1ample, you can increase the tempo for one passage then restore it to its original setting at the end of that passage. >hortly we will see an e1ample of how this is done.
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A.11.1 Audio *edia 7"e& Proper"ies
Nou can record your own media items or import them from e1isting files. Nou can also change various properties such as playback rate and pitch for individual media items. )s well as being able to specify parameter settings for individual media items, you can also set these for multiple items. For e1ample, if you have imported or created a number of media items and you wish to change the pitch or playback rate for several of them you can select those items and press F2 ;or right click anywhere in the selection and choose the 7"e& proper"ies. command from the menu?. '()P(' will then offer you the option of changing the properties of all these items together or ad3usting them individually. ,f you choose Les the dialog bo1 shown here is displayed. ,n the e1ample shown, we are increasing the playback rate for the selected items by EO and preserving the original pitch. 2otice that you can override the pro3ect default Pi"c! A)gori"!& if you wish. This can be Cuite important, as you may find that different algorithms work better with different kinds of audio item ;such as vocal, snare, kick or bass guitar?. ore information about time stretching can be found in the section 1i&e and Pi"c! *anipu)a"ion.
A.11.2
/rea"ing a Boop fro& a 1i&e 0e)ec"ion
,f you wish to take part of an e1isting media item and use it to create a loop there are several ways of doing this. >everal of these have already been discussed. <ften the easiest is to& %. !. >elect the item. >elect the area of the item reCuired for your loop. ,t does not matter whether the option )oop poin"s )in%ed "o "i&e se)ec"ion is enabled or not. 'ight click and choose /opy )oop of se)ec"ed area of i"e&s. >elect a convenient location in the track area and press /"r) V to paste.
.. /.
<ne attraction of this method is that there are a number of useful actions relating to the Time >election for which you can assign keyboard shortcuts or create custom actions. These can be used, for e1ample, to e1tend the time selection in either direction, reduce it from either direction or nudge it in either direction. For more information on how to do this, please consult the section on 1!e Ac"ion Bis" and 8eyboard 0!or"cu"s.
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A.11.3 /rea"ing a Boop fro& 1ransien"s
)nother method of selecting the area reCuired for your loop is to use the transients in an e1isting media item. The following actions are 3ust some of the many that can be assigned keyboard shortcuts within the )ction Rist (ditor. The )ction Rist (ditor is e1plained in Chapter %.. ,tem navigation& ,tem navigation& ,tem navigation& ove cursor to nearest transient in selected item. ove cursor to ne1t transient in selected item. ove cursor to previous transient in selected item.
Time selection& (1tend time selection to ne1t transient in selected items. )ssuming that you have assigned, say, the 1ab key to *ove cursor "o ne+" "ransien" in se)ec"ed i"e& and /"r) 0!if" 1ab to E+"end "i&e se)ec"ion "o ne+" "ransien" in se)ec"ed i"e&s, you can select the item, navigate e1actly from transient to transient and select the e1act area reCuired. Nou can then select the item, copy it and paste it elsewhere, then right click over it, choosing /opy )oop of se)ec"ed areas of i"e&s from the conte1t menu. These are 3ust a few of the actions and commands that can be used to suit your own method of working when creating your tempo based pro3ects. (1plore the others and get to know them. They include& /opy se)ec"ed area of se)ec"ed i"e&s 1ri& i"e&s "o se)ec"ed area 0p)i" i"e&s a" prior -ero crossings
A.11.>
,ea" /orrec"ion
'()P(' includes a selection of assignable actions to assist you with beat detection and beat correction. There are actions to detect tempo, create measures from time selections, e1tend or swap time selections to the ne1t transient, and more. Nou will find some of them on the conte1t menus and all of them in the )ction Rist. )ny action in the action list can be assigned shortcut keys, run from the action list window itself, and*or added to '()P('8s Ac"ions menu. ore information about using the )ction Rist and its editor can be found in the section 1!e Ac"ion Bis" and 8eyboard 0!or"cu"s. Qow you string these actions together is up to you. Qere is an e1ample. Nou might have a live performance that was not done to a click. Bith '()P('8s actions and commands it is a simple process to go thru the track and manually tempomap the whole performance. Be8re going to assume that you have created the following keyboard assignments& 1ab /"r) A)" 1ab /"r) 0!if" 1ab ove cursor to ne1t transient in selected items. >wap left edge of time selection to ne1t transient in selected items (1tend time selection to ne1t transient in selected items.
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,n the e1ample shown here, we have used /"r) 0!if" 1ab to e1tend the selection out, as reCuired.
Be then instruct '()P(' to /rea"e &easure fro& "i&e se)ec"ion Ede"ec" "e&poF. Be could do this either from the timeline8s conte1t menu or using a keyboard shortcut.
Be then use /"r) A)" 1ab to capture the ne1t time selection reCuired, again using that time selection to create a measure with '()P(' auto detecting the tempo.
This process is repeated for the ne1t few measures until we come to the first place where a change of time signature is reCuired.
Py right clicking over the timeline we display the conte1t menu ;see left and below? and select the command /rea"e &easure fro& "i&e se)ec"ion Ene$ "i&e signa"ureF. This causes the Edi" 1i&e 0igna"ure dialog bo1 to be opened, which you can edit at will then click on '8. This process can then be repeated up to the end of the performance.
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A.11.? Suan"i-ing 7"e&s
'()P(' allows you to Cuanti9e your audio items. This essentially means lining them up according to the pro3ect tempo or time signature. Nou might have a situation in which you have copied and pasted a sample several times within a track ;or across several tracks? and you need to ensure that they are correctly aligned. To ensure that all items are aligned to the beat, you simply do this& %. !. Double5click 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 6lasso6 them. 'ight click over any of the items, then choose 7"e& Processing then Suan"i-e i"e& posi"ions "o grid. This causes the Suan"i-e 7"e& Posi"ions dialog bo1 to be displayed. .. >pecify your reCuired parameters, including the note length setting ;%*0, %*/, %*!, %, !, etc.? and whether you want the items stretched to fit. )n e1ample is shown on the right. Click on Process for the Cuanti9ing to be done.
/.
,n the e1ample above, the option to also Cuanti9e item ends and stretch to fit was enabled.
A.12
:yna&ic 0p)i""ing
Dynamic splitting is a very powerful feature which has a number of applications. For e1ample you might have recorded a pretty good bass line that you8d like to use for a song. aybe it was recorded at FG beats per minute. The timing might be a bit out at times but on the whole you8re pretty pleased with it. The trouble is that you want to use %!" beats per minute for your new song. Qere8s another e1ample. aybe you8ve recorded a killer slide guitar track. Nou 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 items? according to criteria that you specify. Pasically it works like this& Nou first select the media item ;or items? to be split. Nou right click over the item and choose 7"e& Processing9 :yna&ic sp)i" se)ec"ed i"e&s. from the menu. This causes the :yna&ic sp)i" i"e&s dialog bo1 to be opened. Nou 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;s?. That is to say, it indicates with a row of colored bars e1actly all of the points at which the item will be split if the parameter settings are left as they are. Nou make such ad3ustments as you wish to the parameter settings until you are satisfied that they are right. Nou tell '()P(' to go ahead and split the items.
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<nce split, each slice of the original item will be set to the current timebase. ,f you wish, you can set any of the splits to any other timebase you choose. Nou can use the items together or individually, according to your needs. >uddenly you8ve got a whole library of samples: Dynamic splitting is non5destructive. This means that your original audio files ;B)T, P., ),F or whatever? remain intact. 2evertheless, if you are going to use this method to build a sample library, it8s often a good idea to work on a copy of the original track. This 3ust makes it easier to go back to the original if you wish to use it to make a fresh set of samples. Ret8s now take a look at an e1ample or two.
A.12.1
0p)i""ing a *edia 7"e& in"o 0a&p)es
,n the e1amples below, we have selected a recording of a resonator guitar. Be have then displayed the conte1t menu and chosen 7"e& processing then :yna&ic sp)i" se)ec"ed i"e&s. >tudying these e1amples will help you to understand how the settings work. ,n every case, the A" "ransien"s option should be enabled. These e1amples should be sufficient to get you started. )fter that, it8s up to you to e1periment according to your particular needs. E+a&p)e 1
<nly a minimal number of options have been selected here. Pecause we have specified 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 a suitable outcome, for e1ample, if we are intending to introduce tempo changes to the song. The larger the
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number of samples and the shorter their length, the more sensitive and immediate will be the track8s response to any such changes. 2otice that ,es" "o $ors" has been elected as the method for constraining slice length. This option is likely to be preferred when splitting at transients. 2otice also that we have specified that we want to keep the beat locations unchanged even if the tempo changes. 2ow let8s see what happens when we bring some of the other options into play.
,n the second case ;above? we have increased the minimum slice length with the result that our media items are now longer and fewer. This might be more appropriate if we are creating samples to be used with a software synthesi9er. Qowever, we might want to do some more fine tuning.
,n this third e1ample, we have used the Reduced sp)i"s option to reduce the number of splits. ,n this particular case, these settings might be about right for creating our sample library from this slide guitar track. Pefore splitting, though, it might in some instances be worth considering whether you wish to enable the noise gate settings to enable you to also remove silence. Bhether or not you would do this would depend largely on the instrument in Cuestion 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 engaging the noise gate.
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Pelow we can see how our original media item now looks after splitting.
This ne1t e1ample shows splitting at transients with a noise gate employed to remove unwanted background sounds such as drawing breath from a vocal track.
,n this e1ample 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 Cuieter vocal material.
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A.12.2 /!anging "!e Pro5ec" 1e&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 seCuence& %. 'ight click over the timeline and choose 7nser" "i&e signa"ure &ar%er. from the conte1t menu. >pecify your reCuired changes in Peats per inute or time signature. ,f you wish, you can select the option for a gradual tempo transition between markers. Click on '8.
!.
..
Nou can double5click on any time signature marker to edit its settings and you can drag it along the timeline to change its position.
A.12.3
/rea"ing a /!ro&a"ic *7:7 7"e&
Bhen dynamic splitting you can select the option to /rea"e c!ro&a"ic *7:7 i"e& fro& s)ices.
This causes a scale.
,D, item to be created that creates one
,D, event for each slice, moving up the chromatic
<ne common application of this is for sample triggering. >uppose that you have a groove that you have assembled from various items from different sources. Nou can now create chromatic midi from the items and then load those items into a sample player, each mapped to the ne1t note in seCuence. The midi will then play the groove. oving the midi notes around changes the groove. ,t is also Cuite easy to swap out e1actly what it is that is being triggered. )nother e1ample is hit replacement. Nou can dynamic split a drum part, creating chromatic midi from it. Nou then have one velocity5sensitive midi note for each hit. ,t8s then a straightforward 3ob 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 it?. 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 7ser Duide.
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A.12.> 0aving and Using 0a&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 se)ec"ed i"e&s from the conte1t menu. The sample wave file can then be imported for use with any T>Ti sampling plug5in, such as 'ea>ampl<maticE""". '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.
A.13
RE2 Fi)e 0uppor"
'(4 files consist of sets of groove slices. They are created in and e1ported from a program called Recyc)e for the purpose of being used in the creation of tempo based music. Nou can import these files into '()P(' either using the 7nser"9 *edia command or by dragging and dropping from the edia (1plorer. Bhen you do this, they will automatically position themselves according to the current tempo. <nce you have imported your '(4 files into '()P(', you can manipulate and use them in e1actly the same ways as you can use other media items that have had dynamic splitting applied within '()P('. For e1ample, imported '(4 slices can be made to keep their beat location even if the pro3ect tempo is changed. ,n your Preferences settings, under *edia9 Video#*isc there are a number of options available for determining how your '(4 files behave.
Nou can choose to import '(4 files either as ,ea" s)ices "!a" dyna&ica))y ad5us" "o "e&po c!ange or as A sing)e )oopab)e i"e& a" "!e curren" pro5ec" "e&po. Nou can also specify '(4 tail behavior as any of the following& Preserve a)) s)ice "ai)s /!op a)) bu" "!e fina) s)ice "ai) /!op on)y "!e fina) s)ice "ai), or /!op a)) s)ice "ai)s
%0"
; C *ore Pro5ec" *anage&en" Fea"ures ;

;.1
*ore Pro5ec" *anage&en" Fea"ures

Boc% 0e""ings
The Rocking feature of '()P(' can be used to effectively free9e certain aspects of a pro3ect file to prevent something accidentally going wrong. There are two aspects to locking& Deciding which pro3ect elements you would like to be locked. (nabling or disabling the locking feature.
To display the Rock >ettings window ;shown right?, press 0!if" B or right click over the lock button ;the last item? on the toolbar. The table below summarises some of the ways in which you might be able to make use of this feature. Boc%ing 'p"ion 1i&e 0e)ec"ion /o&&en" This locks the current time selection so that, for e1ample, if you accidentally click and drag at some other point along the timeline your time selection will remain unchanged. Nou can remove a locked time selection by pressing Esc then selecting Les when prompted. Rocks currently selected loop points. This option prevents you from making any changes at all to any of your e1isting media items. For e1ample, you cannot mute them, add F4 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. 7"e&s Epreven" )ef"#rig!" &ove&en"F 7"e&s Epreven" up#do$n &ove&en"F 7"e& Edges 7"e& /on"ro)s Enve)opes This option allows you to make any other changes you like to your media items e1cept move them left or right. This option allows you to make any other changes you like to your media items e1cept move them up or down. This option disables actions such as slip editing This option disables such actions as adding or modifying fades or ad3usting the item volume control handle. Bhen selected, this option ensures that when locking is enabled you will not be able to make any changes to e1isting envelopes. For e1ample, you will not be able to move points, add more points, or change shapes Nou will still be able to add new envelopes for faders and plug5in parameters, but you will not be able to edit these in any way. Regions Rocking regions prevents you from changing ;for e1ample by moving, deleting or renaming? e1isting regions. Qowever, you will be able to create new regions with Rock 'egions enabled. Rocking markers prevents you from changing ;for e1ample by moving, deleting or renaming? e1isting markers. Qowever, you will be able to create new markers with Rock arkers enabled. This option locks time signature markers and prevents them from being modified.
Boop poin"s 7"e&s Fu))
*ar%ers
1i&e 0igna"ure *ar%ers
%0%

E+a&p)e RetJs suppose that we are happy with the way our media items line up, and we donJt want any of them being accidentally nudged or moved to the left or right. Nou might the wish to lock their hori9ontal position. %. !. .. /. E. G. Choose the 'p"ions command, then Boc%ing 0e""ings. Tick only 7"e&s Epreven" )ef"#rig!" &ove&en"F. Close this window. Display the 'p"ions menu again A if Boc%ing Enab)ed is not selected, turn it on. 2ow try to drag and drop any of your items to the left or right. They wonJt move. Press the B key A this toggles locking off again.
;.2
Boc%ing 7ndividua) 7"e&s
Rocking individual items ensures that those particular items are protected from accidental change, such as 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 Boc%ed and Un)oc%ed are selected ;along with any other item icons that you wish to use? under your 'p"ions9 Preferences9 Appearance9 *edia settings ;see above?. Bhether the icons are displayed on top of the media items ;as in the e1ample below? or in a lane above it will depend on whether you have enabled the option :ra$ i"e& )abe)s above ra"!er "!an $i"!in "!e i"e&. Rocking 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 e1ample above shows a track with two media items. The first item has been locked ;notice the closed padlock icon?. ,t can now not be deleted or moved, unless its status is set to unlock. >imilarly, you cannot grab the handle across the top of the media item and drag it down to ad3ust its volume, nor can you add a fade in or fade out. Nou can, however, open the itemJs F4 Chain, and work with your plug5ins and F4 in the usual way. The second item, however, remains unlocked ;notice the open padlock icon?. ,t can ;for e1ample? be moved, split or deleted, or have its volume lowered and a fade out added. Rocking and unlocking can also be performed with multiple items. To lock a number of items, simply hold the /"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.
%0!
; C *ore Pro5ec" *anage&en" Fea"ures

;.3 Using 0creen 0e"s
>creen >ets enable you to save several different views of your pro3ect, so that you can easily select and recall them when editing or arranging. There are two types of >creen >ets A Track Tiews and Bindows. 1rac% Vie$s are created and saved on a per pro3ect basis, whereas (indo$s screen sets are global.
;.3.1 Vie$s
/rea"ing and Using 1rac%
The procedure is as follows& Nou use the Vie$9 0!o$ 0creen 0e"s command to show or hide the >creen >ets window ;or the default shortcut, /"r) E?. 2otice that the >creen >ets window may be docked ;or undocked?, using its conte1t menu. )d3ust your track layouts to suit. >elect a >creen >et number from the Track Tiews page of the >creen >ets window. Click on 0ave 0"a"e and name the set.
Nou can create up to %" Track Tiew screen sets. To recall a view, you simply double click on its name. Nou can also assign keyboard shortcuts to individual screen sets. Click on the Edi" 0!or"cu"s button in the >creen >ets window to access the Ac"ion Bis" Edi"or. Nou will be shown how to use this in a later chapter of this book. Py default, F> to F= are assigned to load each of your first three Track Tiews ;as shown?, and F@ to F; to load your first three Bindows Tiews. 2otice 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. Track view screen sets can be especially useful for editing media items and when you are working with envelopes. (nvelopes will be covered in Chapter %. of this 7ser Duide.
E+a&p)e
%. !. .. <pen the file A)) 1!roug! 1!e 3ig!".RPP and save it as A)) 1!roug! 1!e 3ig!" 0/REE30.RPP. ,f you wish, use the 0e" se)ec"ed "rac%s "o cus"o& co)ors command on the right click track control panel menu to choose different colors for the different tracks. )d3ust the track height of your Vo+ track as shown&
%0.

/. E. ,n the Track Tiew page of the >creen >ets window, click on %., then 0ave 0"a"e, then type& Vo+ Vie$ then press En"er. 2ow ad3ust the tracks view as shown below&
G. #.
)ssign Track Tiew number ! and save it as Gui"ars Vie$. Nou can now switch between these two track layouts by double5clicking on their names in the >creen >ets window.
2ote that this simple e1ample serves only to introduce you to screen sets and how to use them. They can be more powerful than 3ust this. 2otice that when you create a Track Tiew screen set, there are a number of options that you may choose to include in or e1clude from the view&
Track Cursor Position Track >croll Position Qori9ontal >creen Track Qeights Track i1er >tatus
<ne use of Track Tiew >creen >ets can be to switch between different selections of tracks to be displayed in your i1er. For e1ample, one set might be used to show child tracks only, another to show only those tracks that have receives. 2otice also that there are default shortcuts keys for saving Track Rayouts %, ! and .. These are 0!if" F>, 0!if" F?, and 0!if" F= respectively.
;.3.2
/rea"ing and Using G)oba) (indo$ Vie$s
7nlike Track Tiew >creen >ets, Bindows >creen >ets are not pro3ect specific, but can be applied to all your pro3ects. The procedures for creating Bindow Tiews are similar to those used for creating Track Tiews. Decide which windows and views you want displayed, and how you want them laid out. ,n the >creen >ets window, select the (indo$s page, select a number and save your layout. To recall and open any layout, simply double5click on its name.
%0/

To change a layout, open it, make the changes, then save it back to the same name.
Bhen saving a layout, there are a number of options that you may choose to include in or e1clude from the view& ain Bindow Position Tool Bindow Positions Docker >elected Tab i1er Flags Rast Focus
The *i+er aspects of >creen >ets will be e1plained in more detail in >ection %% of this 7ser Duide. The Bas" Focus option can be selected to ensure that a particular view automatically is given focus whenever the >creen >et is loaded. 2otice also that there are default shortcuts keys for saving Bindows Rayouts %, ! and .. These are 0!if" F@, 0!if" FA, and 0!if" F; respectively.
;.3.3
Au"o 0aving 0creen 0e"s
Nou have the option to automatically save changes to your Track Tiews or Bindows screen set layouts. To do this, simply ensure that the Au"oCsave $!en s$i"c!ing screen se"s option is selected ;see right?. This can be used to ensure for e1ample, that if you change the selected tab to be displayed in the docker before switching to a different Bindows screen set, when you return to the first screen set '()P(' will have remembered which docker tab was last selected. <ptions which you can choose to have automatically saved or not ;as you wish? include&
1rac% Vie$ Au"o 0ave 'p"ions Track cursor position Track scroll positions Qori9ontal 9oom Track height Track mi1er status ain Bindow position Tool window positions Docker selected tab i1er flags Rast focus
(indo$s Vie$s Au"o 0ave 'p"ions
%0E

;.> 3E(4 Adding Para&e"er /on"ro)s "o "!e 1rac% /on"ro) Pane)
)dding parameter controls to the track control panel makes it easier for you to manage those F4 parameters that you find you need to tweak or ad3ust the most often. Nou can add controls to any track to manage any parameters on any D4, D4i, T>T or T>Ti plug5n that has been inserted into that trackJs F4 chain. Nou cannot, however, use this method to control parameters on $> plug5ins. >hown here is an e1ample. The plug5in 'ea(@ has been inserted in the F4 chain of a vocal track. Three of the (@ controls have been added to the track control panel A in this e1ample, Pand % Dain, Pand ! Dain and Pand . Dain. These can be used to ad3ust these parameters without you needing to be repeatedly opening and closing the F4 window. 1o Add /on"ro)s fro& "!e Enve)opes (indo$ Follow this procedure& %. Click on the trackJs Enve)ope button ;this is located immediately to the right of its ,*< button?. ,dentify the plug5in for which you wish to add the controls. ,n this e1ample, this is 'ea(@. ,f the parameters for this plug5in are not already displayed, click on the little U symbol that will appear immediately to the left of the plug5inJs name. Check the U7 bo1 ;see right? for those parameters that you wish to control from the track control panel. Close the (nvelopes window.
!.
..
/.
E.
Nou can also display these controls in the mi1er panel. This will be e1plained in Chapter %%. '()P(' provides you with a number of tools for managing your parameter controls by means of a conte1t menu. 'ight click over any e1isting parameter control to display a menu which allows you to& 'emove the control. 7se Bearn to assign a ,D, controller to that parameter. 7se Parameter odulation with this parameter ;see Chapter %0?. )dd an )utomation envelope for that parameter. )dd more controls to the TCP for other parameters.
%0G

1o Add /on"ro)s fro& "!e P)ugC7n (indo$ Follow this procedure& <pen the Bindow for the F4. The e1ample on the right shows 'ea(@. Click once with the mouse on the control which you wish to use. ,f you are using an e1ternal control surface device with this plug5in, you can instead tweak the appropriate fader, knob, button or rotary control on the control device. Click on the Para& button in the F4 window. This produces a menu ;see right?. From the menu, choose the command 0!o$ in "rac% con"ro)s.
2otice that this menu has a number of other options. These include& 0!o$ "rac% enve)ope. This causes an automation envelope to be added for the F4 parameter. BeJll get to the sub3ect of automation envelopes in Chapter %/. Para&e"er &odu)a"ion. This is a more advanced topic, which will be covered in Chapter %0. Bearn. This can be used to assign control over this parameter to a widget ;such as a fader, rotary or button? on an e1ternal control surface or similar device. A)ias para&e"er. This allows you to assign your own name for this parameter. This name will then be used in any track envelope, track control or parameter modulation that uses this parameter. F2 Para&e"er Bis". This displays a sub5menu of essentially the same options as the main menu ;0!o$ in 1rac% /on"ro)s, 0!o$ 1rac% Enve)ope9 Para&e"er *odu)a"ion, Bearn and A)ias Para&e"er?. This enables you to apply any of these options to any of the plug5inJs other parameters . ,n the e1ample shown on the right, we are able to assign a track control for 3CGain E,andF without first having to touch the control.
%0#

;.? 1!e *arTuee
arCuee is a term that refers to a techniCue in which you can use your mouse as in imaginary lasso, to round up a whole bunch of media items and select them without having to go thru an otherwise long seCuence of /"r) /)ic%. ,t can be especially useful when a pro3ect is made up of a large number of small items. QereJs how the '()P(' Ac"ion Rig!" /)ic%#:rag 0!if" Rig!" /)ic%#:rag /"r) Rig!" /)ic% :rag arCuee works& Resu)" arCuee select items. arCuee select, add selected items to e1isting selection. arCuee select, toggling selected items state.
2ote that you don8t have to enclose an entire item to include it in your selection 5 it8s sufficient 3ust to touch it ;as shown here?.
,f you look carefully at the above screen shot, you should be able to see that the second and third items have been selected by marCuee.
;.=
3E(4 1rac% /on"ro) Pane) <e)p
Nou can choose to display any of a number of items of useful information 3ust below the track control panel if you wish. >imply right click 3ust below the track control panel and select from these options& 0e)ec"ed "rac%#i"e&#enve)ope de"ai)s /PU#RA* usage9 1i&e since )as" save 1rac%#i"e& coun" REAPER "ips 3o infor&a"ion
%00
1 C Pi"c! and 1i&e *anipu)a"ion 1

1 .1
Pi"c! and 1i&e *anipu)a"ion

/!anging Pi"c! for 7ndividua) *edia 7"e&s
The pitch of any item can be changed from the *edia 7"e& Proper"ies dialog bo1. The pitch is measured in semitones. Nou can enter a number to raise or lower the pitch of any item by that number of semitones. 2otice that there is a drop down list that you can use to select your preferred Pitch shifting * Time stretching algorithm. The main choices are& Pro3ect Default. >ound Touch. Dirac R( ;better Cuality, more CP7 intensive?. Row Cuality windowed. VlastiCue !.% Pro ;best?. VlastiCue !.% (fficient ;less resource intensive than elastiCue Pro?. VlastiCue !.% ><R<,>T ;suitable for monophonic items?.
,f you choose one of these WlastiCue 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 elastiCue, go to the 9plane web site http://www.zplane.de/index.php. To open the *edia 7"e& Proper"ies dialog bo1 for any item, first select the item, then press F2. 2ote that the default algorithm is determined by your Pro3ect >ettings. ) number of keyboard shortcuts allow you to easily and Cuickly change the pitch of any selected item or group of items without needing to open the edia ,tem Properties bo1& 8eyboard 0!or"cu" 0!if" ; 0!if" @ 0!if" 0!if" A :escrip"ion ove pitch down one semitone. ove pitch down one cent. ove pitch up one semitone. ove pitch up one cent.
For more sophisticated and adventurous pitch shifting escapades you can try using one of the pitch manipulation plug5ins that are supplied with '()P('. >imply open the F4 window for a track, click on Add, then in the filter list type pitch to display a list of what is available. >hown right is the 'c"avedo$n plug5in. <ther $> pitch shift plug5ins include fft5ps, mdct5shift, octaveup, pitch!, pitchdown and superpitch. These are each suited to particular tasks, but the most powerful of the available pitch shift plug5ins is ReaPi"c! ;see >ection %"..?.
%0F

1 .2 Using ReaPi"c!
>imply insert the T>T 'eaPitch plug5in into a trackJs F4 bin and you have a powerful pitch manipulation tool at your disposal. For e1ample, you can use 'eaPitch to create vocal harmonies. The first illustration ;right? shows 'eaPitch inserted into the F4 chain for a vocal track. The (lastiCue >oloist algorithm has been selected, together with the onophonic parameter. 2otice that the pitch has been shifted down by !E cents. ,n the second illustration, you can see that we have added a second shifter, this time taking the pitch up by !E cents, thus creating an e1tra harmony. 2otice also that in the second illustration we have also ad3usted the panning and the mi1 of the wet and dry signals to produce a more pleasing overall effect.
Pi"c! 0!if"ing and /!anne) 0p)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('Js channel splitting capabilities. These are e1plained in some detail in the section *ore REAPER Rou"ing E+a&p)es ;and elsewhere?. Rook especially at the e1ample headed /!anne) 0p)i""ing and Pi"c! 0!if"ing. Bith channel splitting, you can, for e1ample, not only create several vocal harmonies, but also apply different F4 plug5ins or plug5in chains ;such as 'everb or Delay? to each of your different harmonies.
%F"
1 C Pi"c! and 1i&e *anipu)a"ion

1 .3 Using ReaPi"c! $i"! *u)"ip)e 1rac%s
BeJve already looked at how '()P(' can send audio streams from one track to another. RetJs now have a look at how this feature might be used with 'eaPitch.
,n the e1ample shown on the left, sends are used to send a signal from a Read Tocal Track to two other tracks. (ach of these other tracks has its own F4 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.
1 .>
7ns"ru&en" 1uning $i"! Rea1une
'eaTune is a plug5in that can be used to help you correct the pitch on your recorded media items. This is commonly used with vocal tracks. Qowever, it can also be used to help you to tune an instrument A see illustration on right. The histogram indicates the following. /en"er co)u&n& XU5 % cent. Firs" pair ou"& U5 % to . cents. 0econd pair ou"& U5 . to # cents. 1!ird pair ou"& U5 # to %E cents. Four"! pair ou"& U5 %E to ." cents. Bas" pair ou"& U5 Y ." cents
%F%

1 .? Pi"c! /orrec"ion $i"! Rea1une
The plug5in Rea1une can be used for pitch correction. ,t can be used in either manual or automatic mode. ,n either mode, WlastiCue ><R<,>T is a suitable algorithm. )utomatic mode is illustrated right. To apply it, first insert the Rea1une plug5in into a trackJs F4 window. Nou should then& >elect the page headed /orrec"ion. (nable the Au"o&a"ic pi"c! correc"ion option. >elect the reCuired algorithm and parameter. >pecify the correct key. 'eaTune will then do the rest for you:
anual mode is illustrated left. Click and drag to mark your pitch corrections. To apply it, first insert the Rea1une plug5in into a trackJs F4 window. Nou should then& >elect the page headed *anua) /orrec"ion. (nable the *anua) pi"c! correc"ion option, and other options as preferred. 7se your mouse ;click and drag? to draw in your corrections.
%F!

1 .= 1i&e 0"re"c!ing
The *edia 7"e& Proper"ies dialog bo1 ;F2? can also be used to stretch or shrink the time for an item. To do this, ad3ust the P)aybac% Ra"e. ,n the e1ample shown ;right?, playback rate is increased by !O and the option to Preserve Pi"c! has been selected. To open the ,tem Properties dialog bo1 for any item, first select the item, then press F2. To make the same change for a number of items, do this& %. !. .. >elect all of the reCuired items. Press F2. Bhen the *u)"ip)e 7"e& Proper"ies prompt appears ;see right?, choose Les. ake your changes. Click on '8.
/. E.
The ultiple edia ,tems Properties dialog bo1 is shown here. 2otice that it contains many but not all of the options that you will find in the ,tem Properties dialog bo1. )nother method that you can use to ad3ust the playback rate of any media item ;or selected group of media items? is this& %. !. >elect all the reCuired items. Qover the mouse over the end of one of then items until it turns to a double5headed arrow, as you would for slip5editing. Qolding down the A)" key, click and drag the mouse, left to increase playback rate, right to slow it down. 'elease the mouse when finished.
..
%F.

2otice that if you have enabled the option :isp)ay &edia i"e& pi"c!#p)ayra"e if se" ;Preferences, )ppearance, edia? any changes to Pitch or Playback 'ate will be displayed on or above the edia ,tem;s? in Track Tiew.
1 .@
/!anging "!e Pro5ec" P)ayra"e
Nou can ad3ust the play rate for the whole pro3ect, using the hori9ontal fader on the Transport Par. The pro3ectJs default pitch shift mode will be applied. Nou can ad3ust the playback rate for the entire pro3ect by dragging the fader with your mouse, or you can right click over the fader control and select one of the options from the menu.
2otice that from this 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 $!en c!anging "!e &as"er p)ayra"e. )pply play rate to the current PP . >et the playrate fader range according to any of the available options.
3o"e: ,f the playrate fader is not visible in your transport bar, you can display it by right5clicking over any part of the Transport Par background and selecting the option to 0!o$ p)ay ra"e con"ro).
%F/

1 .A /!anging "!e 1i&e 0igna"ure *ar%er
The default pro3ect Peats per inute and Time >ignature for any pro3ect are determined by the values assigned to these items in the Pro5ec" 0e""ings. Qowever, you can change these at any point in a song, as appropriate by inserting a Time >ignature arker. This changes the beat after the marker position. To change the Time >ignature %. !. .. arker at any point& Position the edit cursor at the reCuired place in the song. From the menu, choose the 7nser" command , then 1i&e 0igna"ure#1e&po /!ange *ar%er >pecify your reCuirements in the dialog bo1 ;right?. )vailable choices include ,P*, whether to Gradua))y "ransi"ion "e&po "o ne+" &ar%er and 0e" 1i&e 0igna"ure. Click '8. ,D, items but not, of course, on
/.
Changes to the time signature marker will impact on the metronome and recorded audio items.
1ip: This process can be automated using the 1e&po *ap Enve)ope A see /!ap"er 13 G REAPER Au"o&a"ion.
%FE
%FG
11 C 1!e REAPER *i+er and *as"er 11 1!e REAPER *i+er and *as"er
11.1 7n"roduc"ion
7p until now, most of the emphasis has been on working in Track Tiew. This is hardly surprising, as that is the area where you will find yourself spending most of your time ;at least with audio? and doing most of your work. )s your mi1 progresses, however, you will find that the '()P(' i1er begins to assume more importance. The contents of this section should help you to familiarise yourself thoroughly with the '()P(' i1er and its various features and capabilities. Nou will also learn more about how to get the best out of the '()P(' aster.
11.2
*i+er Bayou"s
The i1er menu is displayed by right5clicking over a vacant area of the mi1er window, or by choosing the i1er command from this window8s main menu 5 this is in fact the only command there: This menu offers you a great deal of fle1ibility as to how the mi1er is displayed. oreover, using screen sets you can easily save and recall at will different mi1er layouts. /"r) * toggles i1er Tiew open and closed. The main mi1er layout options are summari9ed below. /o&&and 0!o$ fo)ders 0!o$ nor&a) "op )eve) "rac%s 0!o$ 1rac%s "!a" are in fo)ders 0!o$ 1rac%s "!a" !ave receives Group fo)ders "o "!e )ef" :escrip"ion 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. Places track folders to the left. This can be useful at times in bringing all your submi1 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. Causes the view to be scrolled when tracks are activated. >hows tracks displayed in up to three rows when tracks will not fit in one row and the mi1er 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 might be. oves the aster to the right of the mi1er.
Group "rac%s "!a" !ave receives "o "!e )ef" 0cro)) vie$ $!en "rac%s ac"iva"ed 0!o$ &u)"ip)e ro$s of "rac%s $!ere si-e per&i"s 0!o$ &a+i&u& ro$s even $!ere "rac%s $ou)d fi" in )ess ro$s 0!o$ &as"er con"ro)s on rig!" 0!o$ pan con"ro)s on "op 0!o$ F2 inser"s $!en si-e per&i"s 0!o$ sends $!en si-e per&i"s 0!o$ F2 para&e"ers $!en si-e per&i"s 0!o$ "rac% icons in &i+er :oc% &i+er in doc%er
oves the pan controls to the top of each track. Displays an F4 bin above the track controls. Displays a >ends bin above the track controls. >hows F4 parameter controls where these have been specified. Track icons ;if used? will be shown in tracks in the mi1er. Docks the mi1er in the '()P(' docker.
%F#

To help you understand how these options are applied, the table below and the illustrations that follow it represent three e1amples of possible mi1er layouts. 'p"ion
>how folders >how normal top level tracks >how Tracks that are in folders >how Tracks that have receives Droup folders to the left Droup tracks that have receives to the left >croll view when tracks activated >how multiple rows of tracks where si9e permits >how ma1 rows even where tracks would fit in less >how master controls on right >how pan controls on top >how F4 inserts when si9e permits >how sends when si9e permits >how F4 parameters when si9e permits >how track icons
*i+er 1
*i+er 2
*i+er 3
*i+er 1
%F0
11 C 1!e REAPER *i+er and *as"er
*i+er 2
*i+er 3
%FF

11.3 3E(4 Advanced *i+er Bayou" *anage&en"
Py default, '()P('8s i1er Tiew will display all your tracks in the same order as they are displayed in the Track Control Panel. Nou have already seen that you can modify this by using either or both of the options to Group fo)ders "o )ef" and to Group "rac%s "!a" !ave receives "o "!e )ef". Bhether or not you use either of these options, there are a number of other techniCues available to you for customi9ing your mi1er view. The i1er menu ;right click anywhere in the mi1er8s background area? includes an option to use /)ic%ab)e icon for fo)der "rac%s "o s!o$#!ide c!i)dren. )n e1ample of this is shown on the left. The Tocals folder contains two child tracks ;Tracks ! and .?. The picture shows two alternate states, with the child tracks displayed ;left? and hidden ;right?. ,f you look at Track . ;in the left hand picture? you can see that to the left of the mute button there is an icon that shows that this is the last track in the folder. Bhether or not this is displayed will depend on whether you have the option to 0!o$ icon for )as" "rac% in fo)der enabled. This too is found on the i1er8s menu. This feature works independently of the folder icons in the track control panel. ,n other words, if you wish, you can choose to show the child tracks along with the folder on one view but not in the other. )nother option is to disable the Au"oCarrange &i+er "rac%s option. )gain, the command for this is found on the i1er8s menu ;see right?. Turning this option off allows you to arrange your tracks in different orders in the i1er view and the Track Control Panel in the )rrangement Tiew. >imply drag and drop any track;s? in the mi1er view left or right to change their order. Turning back on the option to Au"o arrange &i+er vie$ "rac%s will cause them to be reordered so as to be in the same order as in the Track Control Panel. Nou can also choose to hide individual tracks ;or selections of tracks? altogether from the i1er Tiew. >imply right click over the track name and deselect the option to 0!o$ se)ec"ed "rac%s in &i+er. To restore hidden tracks back to the mi1er, right click over the track name in the Track Control Panel and there turn on the option to 0!o$ se)ec"ed "rac%s in &i+er. 1ip: 'emember that you can use 1rac% 0creen 0e"s to save and Cuickly recall different track layouts, including different mi1er track layouts. >creen sets are discussed in detail in Chapter F.
!""

11.> *odifying 1rac% Bayou" E)e&en"s
Nou can use your mouse to ad3ust for any track or selection of tracks the relative height within the i1er of the various elements, such as the F4 bin, the >ends bin, and the Track Control area. To do this, simply hover your mouse over the boundary between the two elements so that the mouse becomes a double5headed vertical arrow, then click and drag up or down. This action can be controlled by any of the following modifiers. Ac"ion /)ic%#:rag A)" /)ic%#:rag /"r) /)ic%#:rag Resu)" )d3usts relative height of elements for the current track only. )d3usts relative height of elements for all currently selected tracks. )d3usts relative height of elements for all track.
E+a&p)e
The first illustration ;top right? shows the mi1er for a portion of a pro3ect. The content for the various tracks is not really displayed very satisfactorily. For e1ample, for the first and last tracks shown not all track F4 are visible. <f course, you could use the little arrow icons to scroll, but that does not really solve the problem.
,n the second illustration ;above? we have attempted to resolve this by ad3usting the boundary between the sends and the T7 meters for the two tracks in Cuestion. Qowever, this produces different T7 meter heights for different tracks, an effect that is not very pleasing. )s an alternative, we could hold /"r) while ad3usting the boundaries of any one track, with the result that the boundaries are ad3usted for all tracks. This achieves a more satisfactory outcome ;right?.
!"%

11.? Using (indo$s 0creen 0e"s
Bindows >creen >ets have already been discussed in Chapter F. >creen sets are also useful when you are working with the mi1er, because they can be used to recall different mi1er layouts. This can be a great timesaver, because the more you use '()P(', the more you will find yourselves settling on perhaps three or four different layouts that you prefer for use in different circumstances. This will depend mainly on two factors& 3u&ber of 1rac%s& your preferred mi1er layout is likely to be different for a pro3ect with only three or four tracks from what it would be for a pro3ect with perhaps !" or ." tracks. Pro5ec" 0"age: the information that you would like to see in your i1er may vary according, for e1ample, to whether you are at the recording, early mi1ing, or final tweaking stage of your pro3ect. Display the >creen >ets window ;Vie$9 0creen 0e"s? and select the (indo$s tab. Click on any available number, then 0ave 0"a"e. Type a suitable name >elect any or all of the other four items, but be sure to include including *i+er F)ags. Press En"er.
Bindows screensets create layouts that are globally available to all pro3ects. To do this&
1ip: ,f you give focus to the i1er Tiew immediately before saving your >creen >et and include the i1er Flags and Rast Focus items in your settings, then you will ensure that whenever that >creen >et is loaded the i1er will have focus. To retrieve a layout, simply double click on its name in the >creen >ets window. Nou can also, of course, assign shortcut keys to your various screen sets and use those.
11.=
1rac% /on"ro) *enus and (indo$s
Py and large, the same functionality that is available in the track control panels of your track view is also available in the mi1er. The main e1ception is that you cannot access a trackJs (nvelopes window from the i1er. These functions are covered in detail in >ection ! of this 7ser Duide. For e1ample& 'ight clicking over the background area or Track 2umber for any track panel in the mi1er produces the track conte1t menu ;see right? Clicking on a trackJs ,*< button displays the trackJs 'outing Bindow. 'ight clicking on this button displays its routing menu. Clicking on a trackJs F4 button displays the F4 chain for that track. 'ight clicking on this button displays the )dd F4 window. 'ight clicking over a trackJs volume or pan fader causes the Tolume Control or Pan Raw window to be displayed. >imilarly, the 'ecord )rm, 'ecord as they do in Track Tiew. onitoring and >elect 'ecord ode buttons serve the same purposes
!"!

11.@ *i+er 0!or"cu"s
)s well as all the functionality described above, the F4 Pin and >ends Pin in mi1er view ;when visible? make available to you a few shortcuts of their own. These are described below& F2 ,in *ouse 0!or"cu" /)ic% on any disp)ayed p)ugCin na&e /"r) /)ic% on any disp)ayed p)ugCin na&e 0!if" /)ic% on any disp)ayed p)ugCin na&e A)" /)ic% on any disp)ayed p)ugCin na&e A)" /)ic% on "rac%Is F2 ,u""on /"r) 0!if" /)ic% on disp)ayed p)ugCin na&e Rig!" c)ic% on any disp)ayed p)ugCin na&e :escrip"ion <pens and floats that plug5inJs control window. Displays the F4 chain and the control window for that plug5in. Toggles bypass state for that plug5in. 'emove that plug5in from F4 Chain. 'emove all plug5ins from that trackJs F4 Chain. Toggles offline status of that plug5in. Displays a conte1t menu including& )dd F4 K )dd F4 Chain PyPass Chain 'ename F4 ,nstance Displays the )dd F4 window. Displays a conte1t menu whose commands include )dd F4, )dd F4 Chain, >how (ffect Chain and Pypass Chain. Change the order of plug5ins in the F4 Chain. Copy F4 from one Chain to another ;similar to Track Tiew?. ove F4 from one Chain to another.
/)ic% in any vacan" area of "!e F2 ,in Rig!" c)ic% on any vacan" area of "!e F2 ,in :rag and drop up or do$n :rag and drop F2 "o ano"!er "rac% <o)d A)" $i"! drag and drop "o ano"!er "rac%. 0ends ,in *ouse 0!or"cu" /)ic% on any disp)ayed 0end Rig!" /)ic% on any disp)ayed 0end
:escrip"ion <pens the Control window for that send. Displays a conte1t menu e.g.& >how send parameters ute send 'emove send >how track routing window Do to send destination track 'aise or lower the send volume level. Toggle that sendJs mute status on or off. Deletes the send. <pens entire routing window for that track. <pens entire routing window for that track. Creates a send from first track to second. Creates a send from first track to second and disables send from first track to the master. Creates a send from first bin to second and opens control window for that send. Create a copy of the send on that track.
/)ic% and drag on a 0endIs /on"ro) 8nob 0!if" /)ic% on any 0end A)" /)ic% on any 0end /"r) /)ic% on any 0end /)ic% in vacan" area of 0ends bin :rag # drop fro& one bin "o ano"!er A)" drag # drop fro& one bin "o ano"!er /"r) drag # drop fro& one bin "o ano"!er :rag and drop 0end "o ano"!er "rac%
!".

11.A *i+er /o)or 1!e&es
The topic of customising colors for your various screen elements is covered in detail in >ection %E of this 7ser Duide. To define your custom colors, you must first display the Appearance9 /o)or 1!e&e page of your Preferences window.
eanwhile, you might wish to note that the following mi1er5specific items can be assigned your custom colors by displaying the 'p"ions9 Preferences window and the selecting the Appearance 1!e&e settings page& i1er i1er i1er i1er i1er i1er F4 te1t normal F4 te1t bypassed F4 te1t offline sends te1t normal sends te1t muted. sends level
,n addition, you can change the various settings for your T7 meters& Bhether you want the T7 meters to be interlaced. T7 meter clip indicator T7 meter top T7 meter middle T7 meter bottom T7 meter interlace*edge color Click on any color shown that you wish to change to open the /o)ors window. DonJt forget to App)y your changes when finished.
!"/

11.; 3E(4 0!o$ing F2 Para&e"er /on"ro)s
The menu option 0!o$ F2 para&e"ers $!en si-e per&i"s can be used to add to the mi1er panels F4 controls for those parameters specified in the (nvelopes window ;see Chapter F?. To select those parameters that you wish to have displayed, click on the track8s Enve)ope button to open its (nvelopes window, then check the U7 bo1 for each parameter that you want displayed. ,n the e1ample shown on the right, the plug5in ReaES has been added as an F4 to a track called To1. )s well as the plug5in itself appearing in the mi1er panel ;at the top? we have also decided to show controls for two of that plug5in8s parameters, Pand ! Dain and Pand . Dain. To remove an individual control from the display, hold the A)" key while you click on it.
11.1
*i+er Appearance 0e""ings
7nder 'p"ions9 Preferences, Appearance you will find a couple of options that you can use to customise your mi1er appearance by the use of color coding. These are to 0e" "rac% )abe) bac%ground "o cus"o& "rac% co)or and to 1in" "rac% pane) bac%grounds.
11.11 *as"er 1rac% 'p"ions and 0e""ings

The aster Track Control >trip in the mi1er includes most of the functions that are found in the aster Track when it is displayed in Track Tiew. )gain, the main e1ception is that the (nvelopes window cannot be opened directly from the i1er. (1amples of the available functions and features are& Reft click on the <utput button to toggle between >tereo and modes. ono ono
'ight click on the <utput button to set any one of four available options ;see right? that can be used in ono mode. Reft click on the F4 button to display the F4 Chain for the 'ight click on the F4 button to open the )dd F4 window. ,f the F4 Pin for the aster is displayed ;as in the e1amples earlier?, then you can use all and any of the i1er >hortcuts detailed in section G.E. 'ight click over the T7 area to display the various settings that you can use to control what is displayed in the T7 and how it is displayed ;see right?. )vailable options include& Bhether to show Peak plus ' >, or one or the other only. Bindow si9e. Display offset level and Display gain level 'ed threshold level. aster.
i1er ! and
i1er . that we looked at
!"E

11.12 *as"er <ard$are 'u"pu"s
<utput from the aster can be directed to one or more of your available hardware outputs. The easiest way to select multiple hardware outputs is probably via the 'outing atri1. ,n addition to this, there are some very clever features available in the aster which will help you to manage and control your output, especially if you are using multiple hardware outputs. The ,*< button merits a special mention for the way it can be used to set up and manage your hardware output or outputs. 'ight click on the ,*< button to display a menu of all available hardware output options. These can be toggled on and off in any permutation that you reCuire. Reft Click on the ,*< button to display the aster Track <utputs window. This can be used to control the levels and panning of the signals that are being sent to the various output devices.
2otice ;below? that for each output you can independently control any or all of the following& Toggle ute on*off. Toggle phase invert. >et Tolume level. >et panning level. >elect channels. This will be e1plained in the section immediately following this one.
11.13 *as"er 1rac% /!anne)s

The topic of routing and channel splitting is an area which is about as big as it gets. ,t is a topic 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 comple1 and as complicated as you like. )t its simplest, it means this. Nou can use channels to send two copies of the same signal to two different places. Then it starts to get interesting. ThatJs because, for e1ample, you can do separate things to each channel along the route and then 3oin them up again. >low down: ,f thatJs already starting to make your head spin, letJs work thru a relatively simple e1ample. The e1ample itself may or may not be something that youJll ever want to do, but thatJs not the point. The point is that it will help you to understand what channel splitting is about and how to do it. RetJs take an e1ample of using multiple channels ;two stereo pairs in fact? for our aster. BeJre going to use this to feed some reverb into our signal chain, then send the reverb ;and only the reverb? out to our headphones ;to enable us to assess it?, while sending the overall final mi1 to our speakers.,n order to work thru this e1ample, you will need a sound card with at least four audio outputs. ,f your sound card provides only one pair of outputs, you can instead try some of the e1amples included in Chapter %# of this 7ser Duide.
E+a&p)e
The diagram below illustrates what we are going to achieve. ,t assumes that our audio signal flows from top to bottom and from left to right. First we will create the necessary e1tra Channels for the The audio coming into our aster Track. aster from the mi1 will be split between Channels %*! and Channels .*/.
!"G

The signal that is passed to Channels .*/ will be fed thru a 'everb plug5in then directly out to our headphones. ,t will also be passed back into a Compressor plug5in, where it will be mi1ed back into the original incoming signal. The final mi1 will then be fed to the speakers. %. !. <pen the file A)) 1!roug! 1!e 3ig!".rpp and save it as A)) 1!roug! 1!e 3ig!" *A01ER.RPP. Pan the two guitar tracks roughly /"O left and /"O right respectively. Pan the Pou9ouki about %EO left, the To1 around %"O right. @uickly ad3ust the volume levels for each track to suit, especially to avoid clipping in the aster. >ave the file. ,f this was one of your pro3ects, then of course you would want to do more work on individual tracks to get them 3ust right. This might include the use of (@, some compression, perhaps a touch of delay, and so on. For the purpose of this e1ample, we can 3ust imagine that this has been done. Create a layout for your i1er that includes the option to 0!o$ F2 7nser"s. ake sure that your >peakers and Qeadphones are each connected to separate paired sound card outputs. 'ight click over the 7#' button in the aster and make sure that output is directed both to your speakers and to your headphone amp. To create the reCuired channels, left click on the 7#' button for the *as"er 1rac% and set the number of channels to / ;as shown, right?. )ssign the output of channels .*/ to your headphones and channels %*! to your studio speakers. Nour settings should appear similar, but of course not identical, to those shown on the right. Play the song. For now, it should be heard over the speakers, but your headphones should still be silent.
..
/.
E. G. #.
0.
F.
%". 2ow click on the first row of the asterJs F4 Pin, add the plug5in ReaES and, for the purpose of this e1ercise, add a ! dP gain on Pand !, a % dP drop on Pand ., and a %dP gain on Pand /. %%. 2ow click on the second row of the asterJs F4 bin and add ReaVerba"e. Reave the parameters at their default settings, but ad3ust the outputs from this plug5in so that they are directed left and right respectively to channels . and / only. The assignment for these outputs is illustrated ;below?.
!"#

%!. 2ow play the song. The playback thru the speakers will include the effects of your ReaES settings but not the ReaVerba"e. ,n contrast, if you listen thru the headphones, you will hear only the reverb. %.. )d3ust the reverb settings until you are satisfied with the reverb effect. %/. 2ow click on the third row of the aster F4 bin and add Rea/o&p. )d3ust the ,nput >ettings for this plug5in so that Channels % and . are the ain ,nput for the left, and channels ! and / are the ain ,nput for the right. The assignment of inputs for the right is illustrated above. %E. 2ow play the song. Nou can ad3ust the amount of reverb that is fed into the mi1 by ad3usting the vertical (e" and :ry faders in the ReaVerba"e window. Nou can also ad3ust the Threshold ;vertical fader on the left? and ratio settings for Rea/o&p if you wish. %G. Nour speakers will now play the output signal from your aster TrackJs F4 chain, including the reverb mi1ed in. Nour headphones will still play only the direct output of the ReaVerba"e plug5in. %#. >ave this file.
11.1> Avoiding /!anne) Bea%age

Nou need to be aware when you are using multiple channels for the any channels between tracks will also be sent to the aster. aster Track that any signal routed along
For e1ample, you might be using Channels .*/ elsewhere in your pro3ect for the purpose of audio ducking ;an e1ample of audio ducking is included in Chapter %0?. ,n that case, if you also used Channels .*/ for the purpose outlined in the above e1ample, then the signal sent to your audio ducking compressor would also be leaked into the signal being fed to your reverb plug5in, over and above the main mi1. This channel leakage can be avoided simply by reserving for the aster a pair or pairs of channels not used elsewhere in the pro3ect A in this e1ample, you might choose to use Channels E*G or Channels %%*%!. >ince you have up to G/ channels available to you, this should not normally present you with any problem. )lternatively, there could be occasions when you might want to use this aspect of '()P('Js channel routing to your advantage. )n e1ample of this is included in Chapter %0, under the heading Double Ducking.
11.1? Rese" VU *e"er Pea%s

2otice that during playback, your T7 meters in both track view and mi1er view will display the peak level recorded for each individual track ;see right A in this e1ample, the track has peaked at A%%.G?. 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 Ctrl key while you click your mouse over the area where the peak value is displayed in any one track. Nou can also if you wish disable the option under 'p"ions9 Preferences9 Appearance 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. Bhen you resume playback, they will be retained as the peak levels until, of course, a louder passage is encountered.
!"0
12 C 3E(4 *anipu)a"ing and Edi"ing *7:7 7"e&s 12 3E(4 *anipu)a"ing and Edi"ing *7:7 7"e&s
'()P(' has a number of techniCues which can be used for manipulating and editing your these are& ,D, items. ,n brief
any of the commands on the right5click media item conte1t menu can be used with ,D, items as much as they can with audio items A for e1ample you can create and manipulate multiple takes, add ,D, F4 to a takeJs F4 chain, cut, copy and move items, and so on. ,n addition, there are commands on the right5click item conte1t menu that are specific to and only ,D, items. BeJll get to these later. ,D, items
Nou can open any ,D, items or selection of ,D, items in '()P('Js ,D, (ditor for detailed editing. Nou 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 Cuick ,D, editing, you can edit the track in5line. This makes the itemJs content available for editing without needing to open a separate ,D, editing window. Be8ll get to this later.
12.1
Accessing "!e *7:7 Edi"or
To open a single ,D, item in the ,D, (ditor, you can use any of these methods& Depending on your preferences settings ;see right?, either double5click on the item or hold 0!if" while you double5click on the item, or >elect the item and press the default keyboard shortcut /"r) A)" E, or 'ight5click on the item and choose 'pen 7"e&s in Edi"or, then 'pen 7"e&s $i"! ,ui)"Cin *7:7 Edi"or from the conte1t menu. ,D, items together in the same ,D, editor window, first select all of the items, then& 'ight5click on the item and choose 'pen 7"e&s in Edi"or, then 'pen A)) *7:7 7"e&s on 0e)ec"ed 1rac%s in 'ne Edi"or from the conte1t menu.
To open several
!"F

12.2 1!e *7:7 Edi"or (indo$
Bhen you open an item in the ,ts main elements are&
,D, (ditor you are initially greeted with a display similar to that shown above.
1!e *ain *enu.

BeJll 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.
1!e 1oo)bar
From left to right, these are the various tools& Fi)"er ,u""on This opens up the Filter (vents bo1 which allows you a great deal of fle1ibility in deciding which information you want displayed in the ,D, (ditor. Nou can choose to display all channels, or any combination or permutation of channels. The Even" 1ype drop down list lets you select any type of event that you want filtered. The default is A)), but you can change this to 2otes, Poly )ftertouch, Control Change, Channel )ftertouch, Pitch or >yse1* eta.
!%"
12 C 3E(4 *anipu)a"ing and Edi"ing *7:7 7"e&s

The content of the Para&e"er drop down list will be determined by the type of event selected. For e1ample, if you select 2ote, it will show a list of notes. ,f you select Program Change it will show a list of possible program numbers. The two items Bo$ and <ig! can be used with some event types but not others. For e1ample, if the event type is 2ote, 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. 2otice that the filter bo1 has an Enab)e Fi)"er option which can be toggled on and off. /!anne) ,o+ The Channels filter controls allow you to Cuickly select a single channel to be displayed without needing to access the Filter (vents bo1. Nou can also use this to restore the default setting, which is A)). Vie$ ,o+ This determines how the timeline is measured and displayed. Nou can use the time or beats from the pro3ect file, or the beats from the source media item. For e1ample, if your ,D, item begins, say, !" beats into the pro3ect, choosing Peats ;Pro3ect? would cause the timeline for this media item to start at !". Choosing Peats ;>ource? would choose it to begin at %. ,D, data is always defined in beat5based terms, but in the time view mode the grid is ad3usted to reflect any tempo changes in the pro3ect. ,f there are no tempo changes, the beat and time views will be identical. Nou also have the option to select 0ynced. This synchroni9es not only the timeline of the pro3ect and ,D, item together, but also ensures that both windows are also synchroni9ed during such actions as 9ooming and scrolling. To the immediate right of this bo1 are three icons, *ove //s $i"! Even"s 1ogg)e ,u""on This determines whether or not your CC messages will be moved when Grid :isp)ay 1ogg)e ,u""on This toggles on and off the display of vertical grid lines. 0nap "o Grid 1ogg)e This determines whether or not events will be snapped to grid settings. Grid :ivision ,o+ This is used to specify your reCuired grid division unit. 2ote that the units is 2otes, and that you can select from any of the values listed A %*%!0, %*G/, %*.!, %*%G, %*0, %*/, %*!, %, ! or /. /o)or ,o+ This is used to specify which criteria you wish used to determine how the ,D, (ditor uses color. Nour options are Telocity, Channel Pitch and >ource. For e1ample, if you choose Telocity, the color used to display each note will vary along a graduated scale depending on its velocity. ,f you choose Channel, then a different color will be used to display events on each channel. Bhen multiple items are open in the same editor, you can select >ource to use different colors for events that belong to each item. :oc%#Undoc% The button shown at the far right of the ,D, toolbar can be used to dock and undock the ,D, (ditor. ,D, events are moved. ove CCs with (vents, Drid display, and >nap to grid.
!%%

1!e *ain (indo$ The main window by default consists of two panels. The larger ;top? panel displays your ,D, notes. ,t is where you do your editing. This e1ample shows the default view, which is Piano 'oll Tiew. Clicking on any piano key will cause that note to be played. The smaller ;bottom? panel is the CC lane, which can be used to display various types of information. ,n the e1ample here, the velocity of each note is shown. 1!e 0cro)) ,ars 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;s?. 1!e 1ranspor" ,ar This can be used to start, stop and pause playback, rewind to start or 3ump to end, and to toggle repeat loop mode on and off. The area to be looped can be defined on the timeline in either the ,D, (ditor or the main pro3ect window. 1!e // BaneEsF Py default, Ve)oci"y information is shown in the CC lanes. There are two main ways that you can change this& Click on the drop down arrow ;right? to see a menu of items ;including standard ,D, control messages? that you can choose to display in the CC Rane instead of velocity. ) small selection of the available choices are shown on the right. Click on the small U button ne1t to the drop down list arrow to add e1tra CC lanes. >elect any item from the drop down list to display in the selected lane. ,n the e1ample shown below, two lanes are used, one to display Telocity, the other to display Tolume changes.
To remove a lane from view, click on the small minus sign that appears to the immediate right of its drop down arrow. 2otice also that, provided the lane height is tall enough, the e1istence of CC messages can also be shown on the ,D, item in the main window ;see right?.
!%!

12.3 /on"ro) /!ange *essages
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. Bithin '()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 %!#. >ome of these controller numbers are industry standard. For e1ample, 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 e1ample, first, you might send a CC Z# message to specify that you want to ad3ust volume. 2e1t, you send a value that sets the actual volume level reCuired. ) control change message can act as either an override ;setting the parameter to the e1act value specified?, or an offset ;ad3usting the parameter up or down by the amount specified?.
*0, and B0,

>P and R>P stand for ost >ignificant Pyte and Reast >ignificant Pyte respectively. >P control change messages typically act as coarse controls, while R>P messages generally allow fine ad3ustments. >ome control change messages have both >P and R>P versions. ost ,D, devices that contain sounds*patches respond to both Pank >elect >P and R>P control change messages. >ome of the more commonly used cc parameters are listed below. DonJt worry if you donJt understand them all. Nou should consult your ,D, deviceJs documentation for more details.
Para&e"er
Ve)oci"y ,an% 0e)ec" *0, ,an% 0e)ec" B0,
:escrip"ion
The measure of the speed with which a key on a keyboard is pressed. any ,D, devices offer a total of more than %!0 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 A cc Z" ;Pank >elect?, followed by the >ound Pank >P value, then cc Z.! ;Pank >elect R>P? followed by the >ound Pank R>P value, then finally the Program Change number. Program change numbers are discussed in more detail in the section immediately following this one.
*od (!ee) ,rea"! Por"a&en"o ,a)ance E+pression 0ound 1i&bre 0ound Re)ease 0ound A""ac% 0ound ,rig!"ness
This can add vibrato or other changes to a sound. Taries from " ;no force? up to %!# ;high force?. Determines the smoothness of the glide from note to note Typically used to ad3ust the volume of stereo parts without affecting the panning. 7sed to create relative volume changes. The property of a sound that gives it its uniCue LcolorM. Determines how long it takes for a sound to fade out. Controls how long it takes for a sound to fade in. This ad3usts a soundJs filter cutoff, allowing you to create filter LsweepsM.
!%.

12.> /on"ro) /!anne) ,asics
,D, Data Control Channel ;CC? messages can be recorded during live performance, and edited or manually entered using the CC lane in the ,D, (ditor. The CC Rane 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. The ma3ority of CC data has a value of " at the bottom of the CC Rane, and %!# at the top of the CC Rane. The e1ample ;right? shows Telocity. (1ceptions to this rule are Pitch, Pan and Pan Position, which are displayed as positive or negative variations from a centre line. The information displayed in the CC Rane is selected from the drop5 down list at the left of the screen. CC Data is entered or edited by dragging the mouse to the reCuired value. Qold down 0!if" while dragging to ad3ust a range of values ;e.g. to draw a straight line?. Qold down /"r) while dragging to make fine ad3ustments. Rig!" /)ic% to delete values altogether.
12.?
(or%ing $i"! *7:7 Edi"or Banes
There are a few especially interesting items not included in the above table that you can display in your lane or lanes that are worth a special mention, because these might otherwise slip under your radar. These are Pank*Program >elect, >yse1 (vents and Te1t (vents.
12.?.1
,an% Progra&#0e)ec"
Bhen you choose the ,an%#Progra& 0e)ec" option for a CC lane, you can double click at any point to open the ,an% Progra& 0e)ec" dialog bo1. Qere you can select any instrument bank and program combination, and assign it to any channel. The bank*program combinations available to you will of course depend on what instruments you are using.;see e1ample, right?. ,f you are using a synthesi9er for which you have instrument definition files, you can load a file into the ,D, (ditor by clicking on the Boad Fi)e button, then navigating to its directory, then selecting it. )n e1ample of the use of program changes is shown here.
To edit any program change message, 3ust double click on its CC Rane bar. This will open the Pank*Program >elect window for you to make your changes. To delete any program change message, simply right click over its CC Rane bar.
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12.?.2 0yse+ Even"s
>ystem e1clusive ;>yse1? messages consist of ,D, data that can only be understood by the particular make and model of the device that created them. For e1ample, all synthesi9ers should respond to CC messages such as Tolume or Pan control, but system e1clusive messages created by a 'oland synthesi9er would not be understood by, say, a Namaha synthesi9er. Nou can also add a lane which can be used to manage system e1clusive ;>yse1? messages, as shown below. ,n this case, a >yse1 lane is displayed in addition to a Telocity lane.
>ome ,D, hardware, especially older devices, accept syse1 messages as a way to initiali9e or change settings on the device. >yse1 messages are raw ,D, data, represented as a list of he1adecimal bytes. >yse1 events may be added, edited, moved, or deleted in the same way as te1t events ;below?. Double click at any point in the lane to open the Edi" 0yse+ Even" dialog bo1, enter the message and click on '8. Click, hold and drag on any syse1 event to move it. Double click on any e1isting syse1 event to edit it, right click to delete it.
12.?.3
1e+" Even"s
The 1e+" Even"s option lets you display a CC Rane which can be used to display te1t in a lane below your ,D, notes. These could be, for e1ample, lyrics, or marker information or any of the other available te1t types. $ust double click at any point in the lane to open the Edi" 1e+" Even" dialog bo1, type your te1t, specify its type, and click on '8. )gain, double click on any e1isting te1t event to edit it, right click to delete it.
!%E
12.?.>
Genera) // Bane Edi"ing 1ec!niTues
any of the CC message types A such as od Bheel, Preath, Portamento, Pan, Tolume etc A can be e1pressed as a continuous range of values, rather than as discrete items ;in the way that te1t events, for e1ample, are?. For messages of this type there are a number of standard techniCues you can use to enter, edit or delete them. To enter a single message, click in the appropriate CC lane at the reCuired point. The nearer the top of the lane, the higher the value of the message. To change the value of an e1isting message, click above it or on it at the reCuired point, or hover the mouse over the top of the message bar, then click and drag up or down. To delete a message, right click over it.
Nou can also click5hold5drag5sweep to insert a continuous seCuence of messages. The e1ample shown here causes the notes to be panned in increments first to the left, then to the center, then to the right, then back to the center again.
12.=
Vie$ing *u)"ip)e 7"e&s
Be said at the beginning of this Chapter that as well as being able 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, follow this procedure& %. !. >elect the tracks in '()P('Js main view. 'ight click over any ,D, item in the selected tracks and choose 'pen 7"e&s in Edi"or then 'pen A)) *7:7 7"e&s on 0e)ec"ed 1rac%s in 'ne Edi"or.
Bhen you load multiple ,D, events in one editor, you can switch the active events for editing by any of these methods& Click on a note. Clicking the item in '()P('Js main view. Clicking the item in the ,D, filter window, which will display a list of all loaded ,D, items and their visibility.
,n the e1ample shown on the right, four ,D, items ;on two tracks? have been opened in the ,D, (ditor. The item called 8eyboard 2 on 1rac% 2 is currently selected. This feature is typically used to arrange a number of instruments simultaneously. ,D,
!%G

12.@ 3aviga"ing "!e *7:7 Edi"or *ain (indo$
The ,D, (ditorJs menus and action list contain any number of techniCues that you can use for precision navigation& weJll get to these shortly. First, you should familiarise yourself with the tools that you have available for Lbroad brushM navigation. The hori9ontal and vertical scroll bars in the ,D, (ditor window can be used for scrolling, and their respective plus and minus buttons can be used for vertical and hori9ontal 9ooming. Nou can also use your mousewheel. ousewheel behavior can be customi9ed in the )ctions Rist (ditor, but the default settings are& *ouse$!ee)& /"r) *ouse$!ee) A)" *ouse$!ee) /"r) A)" *ouse$!ee) Qori9ontal Soom Tertical Soom Qori9ontal >croll Tertical >croll
The keyboard shortcuts PageUp and Page:o$n can be used to 9oom in*out vertically, and R and G to 9oom in and out hori9ontally. Nou can select an area to be looped, as in the main '()P(' window, by clicking and dragging along the ,D, (ditor timeline ;see right?. Nou can also use the timeline in the '()P(' main window to define and modify loop areas if you wish. 7se the 1ogg)e Repea" button on the Transport bar to enable or disable looping.
12.A
,asic 3o"e 0e)ec"ion and *anipu)a"ion
The ,D, (ditorJs menus and action list contain any number of techniCues that you can use for precision editing and manipulation of your notes& weJll get to these shortly. First, you should familiarise yourself with the most basic tools that you have available for Cuick and basic editing.
1o do "!is .
Add a no"e :e)e"e a no"e 0e)ec" a no"e for edi"ing 0e)ec" a range of no"es Add "o an e+is"ing se)ec"ion /!ange a no"eIs )eng"!
Lou need "o do "!is .

Click and drag in the ,D, editing area. Double5click on the note. Click once on the note. 'ight click and drag around the selection. Qold A)" and /"r) while right clicking and dragging around notes. Qover 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 reCuired. Click and hold the mouse button down over the note, drag to new position and release.
*ove a no"e
!%#

12.; 1!e *7:7 Edi"or *enus
This section contains an overview of the ,D, (ditor and its main menu commands. Bhen docked, the main menu is not displayed, but you can access these commands by right5clicking over the windowJs tab in the docker.
1!e Fi)e *enu

Rena&e *7:7 "a%e 'enames the (1ports active ,D, ,tem. ,D, track to a file. ,D, events are normally stored in the Pro3ect file itself. E+por" "o ne$ *7:7 fi)e Boad no"e na&es fro& fi)e . 0ave no"e na&es "o fi)e (nables you to load note names into your your ,D, item into a file. Rena&e curren" no"e )llows you to rename the currently selected note. Nou are then able to enter the name for the selected note on the piano roll ;see e1ample, right?. /)ear a)) no"e na&es Clears all note names from the currently open ,D, item. Boad co)or &ap fro& fi)e#/)ear co)or &ap Eres"ore defau)"sF 7sed to import your own .P2D color map file or restore the '()P(' defaults. /)ose Edi"or Closes the '()P(' 1!e Edi" *enu Undo9 Redo9 /opy Even"s9 /u" Even"s9 Pas"e9 0e)ec" A)) Even"s9 :e)e"e Even"s These features work e1actly as described on all selected 7nser" no"e a" &ouse cursor ) very Cuick way to insert notes. ,nserts new notes ;according to the current >nap values? wherever your mouse is hovering. 2ote that since this command takes the mouse cursor as its reference position, you should use the 7nser" key to e1ecute it rather than actually display the menu. 7nser" no"e a" edi" cursor >imilar to ,nsert 2ote at 0p)i" no"es >plits selected notes ;using the > key?. ,f no notes are currently selected, all notes currently under the (dit Cursor are split. 0p)i" no"e under &ouse cursor >plits any note currently located under the mouse cursor ;based on snap settings?. Disabling >nap allows you to make very accurate splits. 2ote that since this command takes the current mouse cursor as its reference position, you should use the keyboard shortcut 0!if" 0 to e1ecute it. ouse Cursor ;using the , key?, but positions new notes at the (dit Cursor. ,D, notes. ,D, editor, and returns you to the main '()P(' window. ,D, item from an e1isting file, or save the note names from
!%0

Suan"i-e even"s Suan"i-e se)ec"ed even"s using )as" se""ings Suan"i-e se)ec"ed even"s "o grid UnTuan"i-e se)ec"ed even"s Free-e Tuan"i-a"ion for se)ec"ed even"s These commands as a group are used to Cuanti9e e1isting data. >ee the @uanti9e section and the ,D, Toolbo1 section for more information about this feature. <u&ani-e no"es . '()P('8s ,D, (ditor includes a <u&ani-e command to make the e1act timing of ,D, generated music sound more like it was being played by a human being. ,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. Re&ove se)ec"ed dup)ica"e no"es 'emoves duplicate notes ;i.e. duplicate notes of the same pitch and same starting position? from selection. 0e" se)ec"ed no"e ends "o s"ar" of ne+" no"e )d3usts the end point of all notes in selected range Reverse 'everses the order of the ,D, events within the item currently being edited.
1!e 3aviga"e *enu This menu presents a number of options for moving notes in any direction, either by grid or by note& *ove cursor )ef" by grid *ove cursor rig!" by grid *ove cursor up one no"e *ove cursor do$n one no"e There are also a number of commands that can be used to 3ump to and select a note, either instead of or in addition to any current selection& 0e)ec" no"e neares" cursor Add no"e neares" cursor "o se)ec"ion 0e)ec" previous no"e 0e)ec" ne+" no"e 0e)ec" previous no"e $i"! sa&e no"e va)ue 0e)ec" ne+" no"e $i"! sa&e no"e va)ue 0e)ec" a)) no"es $i"! sa&e no"e va)ue Add previous no"e "o se)ec"ion Add ne+" no"e "o se)ec"ion *ove edi" cursor "o s"ar" of se)ec"ion
!%F

1!e 'p"ions *enu
:oc% $indo$ Positions the midi editor inside the Docker. 2ote that when you do this, the ,D, (ditorJs main menu will not be displayed. Qowever, the commands on these menus can still be accessed by right5clicking over the windowJs tab in the docker ;see illustration on the right?. Reuse *7:7 Edi"or for o"!er i"e&s )voids having multiple ,D, (ditor instances open at the same time. ,f you double5click on another ,D, item with this option enabled, it opens in the current (ditor window in place of the current item. 0ync edi"or "ranspor" "o pro5ec" "ranspor" >ynchroni9es the transport of the Previe$ no"es on add#edi" This option is great for previewing single notes as you enter them. Bith this option enabled, '()P(' plays whatever T>Ti or ,D, instrument is assigned to that track thru the F4 bo1 or hardware routing ;providing monitoring is on?. 0ing)e c)ic% inser"s#re&oves no"es Toggles on and off the use of a single mouse click to insert or remove a note. Use F1CF12 as s"ep seTuencer Bhen enabled, the function keys ;F% 5 F%!? can be used to enter notes. These keys are mapped to the %! >emitones of an <ctave, with F% having the lowest pitch and F%! having the highest pitch. The starting pitch for F% is determined by the location of the highlight bar. ,n the e1ample shown, the starting pitch for F% is CG. ,f FE ;for e1ample? is then pressed, an ( note will be created. Py moving the position of the highlight bar and the (dit Cursor, and using the Function keys to enter notes, complete arrangements can be Cuickly created using the =eyboard alone. 2ormally this mode will also advance the cursor according to the snap settings. Nou can bypass this and not advance the cursor by holding 0!if" while pressing the function key. ,D, (ditor to '()P('8s main Timeline.
,D,
!!"

1!e Vie$ *enu *ode: piano ro)) Displays a standard, white*black piano key view. *ode: na&ed no"es 'eplaces the Piano 'oll view with note names. 2ote& <nly works when using a T>Ti that reports note names, such as F1pansion8s PFD. Check the '()P(' forum to see if a note namer plug5in has been posted for the T>Ti you want to use. For e1ample there are (SDrummer note namers available. *ode: even" )is" Displays the event list. These three modes are discussed in more detail later. Rec"ang)es 1riang)es E:ru& &odeF :ia&onds E:ru& &odeF )llows you to choose to display notes as rectangles, triangles or diamonds. 0!o$ ve)oci"y !and)es on even"s This option tells '()P(' to display a velocity control on each and ad3usting event velocities. 0!o$ ve)oci"y nu&bers on no"es This option tells '()P(' to display velocity numbers on notes when space permits. 0!o$ no"e na&es on even"s This option tells '()P(' to display the note name on each 0!o$ no"e "i&es re)a"ive "o pro5ec" Displays note times relative to pro3ect rather than as absolute. 0!o$ a)) no"e ro$s <ide unused no"e ro$s <ide unused and unna&ed no"e ro$s These three mutually e1clusive commands let you determine which rows are shown. ,D, event. ,D, event. 7seful for Cuickly comparing
1!e Ac"ions *enu

This menu has two default commands 5 0!o$ ac"ion )is" and 0!o$ recen" ac"ions. 0!o$ ac"ion )is" opens the Ac"ions . window with the *7:7 Edi"or section automatically selected. Custom actions and keyboard shortcuts play an important role in working within the ,D, (ditor. Nou can use this window to assign your own keyboard shortcuts to any ,D, action or seCuence of actions. There are several e1amples of how you navigate and use the )ctions window later in this chapter. ,f you enable the 0!o$ recen" ac"ions option, the )ctions menu will also list your most recent activities, as well as any custom actions or keyboard assignments that you have placed there. These commands can then be e1ecuted from this menu. )n e1ample of this is shown on the right. There are some simple e1amples showing you how you can use the )ctions Rist later in this chapter, and the Ac"ions Bis" Edi"or and how to use it will be covered in detail in Chapter %.. Finally ;on the sub3ect of menus? remember that '()P(' makes e1tensive use of right5click conte1t menus. =nowing which commands are on the main menu is useful, but as you will shortly see, more often than not youJll use the right click menus and custom actions more than the main menu.
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12.1 3o"e /rea"ing and Edi"ing
'vervie$
The ,D, (ditor uses as its default a Piano 'oll interface to display and edit ,D, information. 2otes 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$ 8eyboard 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 3o"es ,D, notes can be recorded as part of a performance, imported from an e1isting ,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 *ouse: 2otes 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 2ote. ,f >nap is enabled, the duration will >nap to the nearest Drid Rine ;depending on the strength of your >nap settings?. 2otes can also be entered by double5clicking on the Piano 'oll ;in a space not already occupied by another note?. ,n this case, the duration of the note is determined by the value of the Drid >etting. 2otes can be deleted by double5clicking on the 2ote. The duration of an e1isting note can be altered by dragging the edge of the note. Bhile holding it, you can drag the note out, move it up and down, etc. Then you can let go and double click notes in according to the snap setting. ) noteJs velocity can be ad3usted by clicking and dragging up or down from the top of the note, in similar fashion to that used for ad3usting the ,tem Tolume Qandle in '()P('Js main window. 2otes 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.
1!e Rig!"C/)ic% 3o"es *enu

7nser" no"e a" &ouse cursor ) very Cuick way to insert notes. ,t will insert notes according to the current snap values wherever your mouse floats over. 'emember to use ,2>('T key otherwise you will have to move your mouse cursor: 7nser" no"e a" edi" cursor >imilar to previous, but wherever the edit cursor is. /opy#/u"#Pas"e These are standard Bindows editing commands which perform standard Bindows functions. Pas"e preserving posi"ion in &easure Pastes previously cut or copied notes so as to preserve their position relative to the measure.
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0e)ec" a)) no"es >elects all notes in this :e)e"e no"es Deletes all notes in current selection. 0p)i" no"es 2otes can be split at the (dit Cursor by selecting 0p)i" no"es ;0? from the right5click menu. )ll notes that are under the (dit Cursor will be split. 0p)i" no"es under &ouse cursor 2otes can be split at the location of the ;0!if" 0? from the right5click menu. Join se)ec"ed no"es $oins all notes in current selection to make one note per row. *u"e no"es utes according to conte1t the current note selection or the note under the mouse cursor. 0e)ec" previous no"e 0e)ec" ne+" no"e >elects previous or ne1t note in place of current selection. 0e)ec" previous no"e $i"! sa&e va)ue 0e)ec" ne+" no"e $i"! sa&e va)ue 0e)ec" a)) no"es $i"! sa&e va)ue ,n place of currently selected note, selects previous, ne1t or all notes with the same value as the currently selected note. 3o"e proper"ies This gives a way to alter the various values attributed to a midi note by entering the values into te1t bo1es. Nou can change any of the following& note pitch velocity position length channel. ouse Cursor by selecting 0p)i" no"es under &ouse cursor ,D, (ditor window
Nou can use U or G to make relative changes. For e1ample, for note value, entering U%o! will raise the pitch by one octave and two semitones. 3o"e c!anne) E1C1=F ) Cuick way to change the channel for the current note selection. For e1ample, choosing channel 0 will ensure that a note will use channel 0 55 and will send that note to the vsti or midi instruments channel 0. ) ,D, ,tem can contain data from up to %G channels. The ,D, (ditor can display and edit all %G ,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.
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12.11 Using "!e 8eyboard
Rooking at the right click 2otes 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. >ome of the most useful of these are listed here. 2otes can be entered at the position of the edit cursor by using the =eyboard >hortcut 7 or at the mouse cursor by pressing 7nser". The duration of the note will be determined by the value of the grid setting ;from the Drid Division bo1?. The effect of this is shown in the two illustrations ;right?, before and after. The Edi" /ursor position on the Timeline is ad3usted by using any of the following =eyboard >hortcuts. 8eyboard 0!or"cu" Rig!" or /"r) 3u& = Bef" or /"r) 3u& > 0!if" Rig!" or /"r) A)" 3u& = 0!if" Bef" or /"r) A)" 3u& > Resu)" ove edit cursor right by one grid division. ove edit cursor left by one grid division. ove edit cursor right by one pi1el. ove edit cursor left by one pi1el.
3o"es can be &oved using any of the following =eyboard >hortcuts. 8eyboard 0!or"cu" A)" 3u& 2 3u& 2 A)" 3u& A 3u& A A)" 3u& > 3u& > A)" 3u& = 3u& = Resu)" ove selected note;s? down one octave. ove selected note;s? down one semitone. ove selected note;s? up one octave. ove selected note;s? up one semitone. ove edit cursor left by one pi1el. ove edit cursor left by one grid unit. ove edit cursor right by one pi1el. ove edit cursor right by one grid unit.
3o"e disp)ay can be fi)"ered for channels % to %" using any of the shortcuts 0!if" 1 thru 0!if" . 0!if" O removes the note filter and restores all notes to view. Use F1CF12 as s"ep seTuencer: Bhen Use F1CF12 as s"ep seTuencer is selected, the Function keys F% thru F%! can be used to enter notes. The Function keys are mapped to the %! >emitones 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, (ditorJs main 'p"ions menu. 3o"e Proper"ies: The keyboard shortcut /"r) F2 can be used to open the 2ote Properties bo1, as an alternative to choosing the command from the right5click menu. 0e)ec"ing # Edi"ing &u)"ip)e 3o"es: ultiple notes can be selected by holding down the Ctrl or >hift keys while selecting notes with the mouse, by drawing a arCuee ;'ight5clickUDrag? around a group of notes, or by using >elect )ll ;/"r) A?. The value of all selected notes can be ad3usted by dragging one of the selected notes.
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The duration of all selected notes can be ad3usted by dragging the edge of one on the selected notes. The note velocity of all selected notes can be ad3usted by dragging the Telocity handle ;when active? of one of the selected notes. The default Telocity value for notes created in the ,D, (ditor is taken from the last selected event 5 e.g. if the Telocity of the last selected event was #", then the Telocity value for the ne1t created note will be #". 0ca)ing 3o"es <ne very cool feature of the '()P(' midi editor is to be able to move notes by scale: >imply select all the notes you want to scale by holding alt and left click dragging over the notes you want. Then after those notes are selected, simply hold down /"r) and drag the edge out.
12.12 Genera) *7:7 Progra& Pa"c!es

Be have already seen that you can use a Pank*Program >elect lane to make program changes within an item. ,tJs worth noting that '()P(' includes a file D .reabank ;in the C&[Program Files[')(P('[Data folder? which can be used to select standard Deneral ,D, banks and patches. )n e1ample is shown here. ,f the Deneral ,D, banks are not automatically available in the Pank drop down list, click on the Boad Fi)e button, navigate to the ')(P(' data directory and select the file G*.reaban%.
12.13 *7:7 Edi"or *odes and Vie$s

12.13.1
The %. !. ..
3o"e *odes
,D, (ditor has three modes, accessible from the Vie$s menu. These are& Piano Ro)) Vie$ A keyboard shortcut A)" 1. 3a&ed 3o"es A keyboard shortcut A)" 2. Even" Bis" A keyboard shortcut A)" 3.
7p until now, the only view used in this 7ser Duide has been Piano 'oll. Pefore moving on to e1amining the other two views, thereJs a couple of points that you might find interesting. ,n Piano Ro)) Vie$ you can name any note. >imply double right click over the note ;see above right? and enter the name in the edit bo1 that is then displayed, then press En"er. ,n any of the views, you can right click over the ,D, (ditorJs title bar to display a composite menu made up of all of the commands and options on all si1 of the items on the main menu bar. ,f the ,D, (ditor window is docked, you can obtain this composite menu by right5clicking over the windowJs tab in the docker ;see screen snapshot on the right?.
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3a&ed 3o"es *ode:
,n this mode you can also double right click in the left pane to enter te1t, as shown. ,f you select the option on the Tiew menu to 0!o$ no"e na&es on even"s, then the names will be shown on the actual notes themselves, as shown in the e1ample above. ,f you leave this option enabled, the names will also be displayed in Piano Ro)) Vie$ as shown below&
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,n named note mode, you have the options ;Tiew menu? to 0!o$ a)) no"e ro$s, <ide unused no"e ro$s and <ide unused and unna&ed no"e ro$s. The first of these options, which is the default is self5 e1planatory. Pelow are shown e1amples of the effect of each of the other two options.
,n this first e1ample, the option to <ide Unused Ro$s has been selected. <nly those rows which contain notes are shown. ,n this e1ample ;and typically? this includes rows which contain notes outside of the portion of the item that is currently displayed in the window.
,n this second e1ample, the option to <ide unused and unna&ed no"e ro$s has been selected. This ensures that all named note rows are shown, even if they do not yet contain any notes.
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Even" Bis" *ode:
(vent Rist mode displays the ,D, information as a list of events, in tabular form. ,n this mode you can use the right click menu ;shown left? to insert, copy, cut paste, delete or mute any events.
Nou can also double click on any event to modify that eventJs properties ;see e1ample right?. <f course, the information displayed in the (vent Properties dialog bo1 will in large measure depend on the event type of event.
The Toolbar displayed in (vent Rist view is simpler than that used in the other two views. The Fi)"er button and drop down /!anne) list are used e1actly as in the other two view to filter only those events that you want displayed. The purpose of the Add Even" and :e)e"e buttons should be self5e1planatory.
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12.13.2 3o"e 0"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 Tiew and 2amed 2ote Tiew e1amples up to now. Qowever, 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$9 3o"e 0"y)e command and select Rec"ang)e, 1riang)e or :ia&ond.
)n e1ample which uses triangles instead of the default rectangles is shown on the left.
12.1> Suan"i-ing *7:7 :a"a

The term Suan"i-e refers to the process of aligning a set of musical notes to a precise setting. This results in notes being set on notes and on e1act fractions of notes. Bhen you instruct the music application to Cuanti9e a certain group of ,D, notes in a song, the program moves each note to the closest point on the timing grid. The purpose of Cuanti9ation is to provide a more uniform timing of sounds. @uanti9ation is freCuently applied to a record of ,D, notes created by the use of a musical keyboard or drum machine. @uanti9e is available by choosing the Edi"9 Suan"i-e even"s command from the ,D, (ditor menu. This command causes the dialog bo1 shown on the right to be displayed. The various Cuanti9e options and settings are e1plained below.
!!F

A)) Even"s or 0e)ec"ed Even"s. The top pair of radio buttons allow us to Cuanti9e selected events or the whole seCuence ;all events?. This can certainly come in handy if you 3ust need to Cuanti9e a certain off section, or perhaps 3ust a certain instrument, such as the hihats of a drum section. 2otice straightaway the Rea)"i&e previe$ option. This is the last option in the dialog bo1, but probably one of the first that you will wish to enable. Rea)"i&e Previe$ lets you test the result of your Cuanti9e options before you commit yourself by clicking on '8. This is useful for letting you e1periment with different settings. ,t also makes you less likely to make a mistake, such as leaving the )ll (vents option enabled when you really mean to choose >elected (vents. Bhen enabled, the Suan"i-e Posi"ions checkbo1 tells '()P(' to move the start position of the midi events to align to the value you set. ) setting of %*%! refers to one5twelfth of a note. Nou can select from the drop down list, or enter a value of your own ;e.g. %*!/?. This feature includes a number of options such as A))o$ )ef" and A))o$ rig!". (nabling both these will ensure that notes are individually Cuanti9ed to the start or end of the specified note fraction, whichever is nearest. )llow left only will Cuanti9e all notes to the start, allow right only will Cuanti9e all notes to the end. Bhen enabled, the Suan"i-e Beng"! checkbo1 tells '()P(' to e1tend or shorten notes by moving the end position of each note. Nou can select from the drop down list, or enter a value of your own ;e.g. %*!/?. Nou can choose to enable or disable A))o$ s!rin% and A))o$ gro$. The Suan"i-e 0"reng"! setting ad3usts how strictly notes are Cuanti9ed. The lower you set the strength, the less 8magnetism8 the grid has to the midi notes. This introduces subtle imprecisions to the Cuanti9ing which can make the outcome seem less clinical. The 0$ing control can also be set at any value between "O and %""O. 7sed well, this control can result in a more musically pleasing output. ,n essence, you define a percentage delay to be applied on the upbeat. For e1ample, if you apply swing to %*/ 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. >mall amounts of swing ;even EO or less? can help to prevent a part from sounding too rigid. The Suan"i-e $i"!in settings allow you to specify a percentage range for Cuanti9ing. This is another tool available to you to help you preserve the human element of your ,D, items. ,n '()P(', Cuanti9e is non5destructive A that is to say, the process can be reversed at any time. The various other commands on the Edi" menu are used with Cuanti9ing are& Suan"i-e se)ec"ed even"s using )as" se""ings This bypasses the Suan"i-e Even"s dialog bo1, making it Cuicker and easier for you to apply the same Cuanti9ation settings to various disparate selections. Suan"i-e se)ec"ed even"s "o grid This Cuantises selected events according to your grid settings. UnTuan"i-e se)ec"ed even"s 'emoves Cuanti9ation from the selected events and returns the notes to their previous state. Free-e Tuan"i-a"ion for se)ec"ed even"s Free9es the Cuanti9ation for all currently selected events. >hown ;right? is an e1ample. The top picture shows two unCuanti9ed notes selected. ,n the second picture they have been Cuanti9ed by moving them left. ,n the third picture, they have been Cuanti9ed by moving them to the right.
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12.1? 7npu" Suan"i-a"ion
The term 7npu" Suan"i-e refers to a process by which ,D, notes are automatically Cuanti9ed as they are entered. This could be, for e1ample, by playing your ,D, keyboard, or even the '()P(' Tirtual =eyboard. ,nput Cuanti9e is applied in '()P(' on a per track basis. >imply right click over the trackJs T7 eter and choose 1rac% Recording 0e""ings from the conte1t menu. This causes the dialog bo1 shown on the right to be displayed. Nou should then select the option to Suan"i-e "rac% *7:7 recording. <ptions then available include& The note length to be used for Cuanti9ation ;e.g. %*0?. Nour Cuanti9e positioning preference. <ptions are 3eares" va)ue, Previous va)ue and 3e+" va)ue. Bhether to Cuanti9e note5 offs. @uanti9ation strength. ) lower setting will allow more subtle variation, creating a more LhumanM effect by allowing minor variations in how strictly the Cuanti9ation is applied. >wing setting. This can be between "O and %""O. Nou 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 e1amples. @uanti9e within O range. This is another way in which you can ad3ust your Cuanti9e settings to preserve the human performance element.
12.1= <u&ani-e 3o"es

Qumani9e 2otes ;from the (dit menu? can be used to introduce subtle variations A some might say imperfections: A to a ,D, item that is 3ust too e1act, too perfect. Consider a piano piece, for e1ample. 2o human pianist will ever complete an entire live performance on an acoustic piano with every key being struck with e1act precision and perfect timing. Therefore, you might not want your ,D, items to be too perfect. The <u&ani-e 3o"es dialog bo1 ;right? can be used to introduced random variations in timing and velocity to an e1isting ,Di item to make it sound K well, more human:
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12.1@ Using "!e *7:7 Edi"or: an E+ercise
,n this e1ample, you will be introduced to some simple e1amples which involve working with the '()P(' ,D, (ditor. The ob3ective of this is not to produce a stunningly brilliant piece of music, but to help you to become familiar with the ,D, (ditor. E+a&p)e %. !. Create a new pro3ect 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. 'ecord about !" or !" 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. Nour Track and ,tem will look something like this& ,D,
.. /. E. G. #.
Display the trackJs 7#' ;'outing? window and add a (ave"ab)e 0( 0yn"!. Play the tune. ,t should play with a piano sound. Double click on the item to open it with the
,D, Qardware <utput to *icrosof" G0
,D, (ditor.
Display the drop down note5length list and set it to %*!. >croll your mousewheel up or down until you are satisfied with the hori9ontal 9oom setting. 7se /"r) with the mousewheel to find an acceptable vertical 9oom setting. Nou should now see something like this.
!.!
0.
$ust for fun, draw in a few more notes by clicking and dragging in the edit window. (1periment with using your mouse to move them about and change their length ;by clicking and holding over a noteJs right edge and dragging left or right?. Delete any that you do not want to keep. 2ow Soom out hori9ontally to see the entire length of the item.
F.
%". Display the // Bane Bis" and choose ,an%#Progra& 0e)ec" ;as shown right?. %%. )t the very start of the song, double click in the CC Rane. >elect the bank Genera) *7:7 and the program /!urc! 'rgan. %!. 'eturn to the start of the timeline and play the tune, ,t should sound like a church organ. %.. Draw in a number of long LdronishM notes as shown below. them all ;but only your new notes?. arCuee them ;right click drag? to select
%/. 'ight click over any of the selected items, choose 3o"e /!anne) from the menu, then channel !. %E. Double click in the CC Rane, ne1t to where you clicked before. >elect Deneral ,D,, Choir )aahs and Channel ! ;see right?. %G. Play the song from the start. Nou should hear an organ with a choir. The choir may seem too loud. %#. Change the CC lane to display @ Vo)u&e *0,. %0. Click on the Channel Filter Rist ;on the toolbar? and choose Channel !. 2ow only your )aahs are displayed. %F. Click, hold and drag your mouse as you sweep along the CC Rane with a fairly low volume setting, as shown below.
!". 'emove the channel filter and restore all channels to view. Close the !%. Play it. The choir should now sound a lot Cuieter. !!. Continue if you wish to further e1plore the ,D, (ditor on your own.
,D, (ditor and save the file.
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12.1A *7:7 Ac"ions
'()P('Js )ction Rist (ditor lets you assign your own keyboard shortcuts to any command or action, or seCuence of actions. Chapter %. will show you in detail how to use the )ction Rist editor, but itJs worth spending a little time to get familiar with at least some of its basic features while youJre working in the ,D, (ditor. The )ction list is displayed by choosing 0!o$ ac"ions )is" from the Ac"ions menu. <ne of the first things you should notice about it is that it contains a whole load of assignable actions beyond those that are shown on '()P('Js menus. This means that you are able to create your own keyboard shortcuts for any of these actions, and even for seCuences of actions. 2otice also ;right? that when you display the )ction Rist from within the ,D, (ditor, you are able to assign ,D, commands and actions to keystrokes so that they will behave differently in the ,D, (ditor from the way they behave in the main '()P(' environment. RetJs take a simple e1ample. Peing able to select notes Cuickly and easily is important when you are working with the ,D, editor. ,f in the )ction Rist filter bo1 you type se)ec" then only those actions which included this word will be displayed ;see above?. Nou can see that thereJs Cuite a few, and that some A such as Edi": 0e)ec" a)) A already have keys assigned to them. <ne of these is Add ne+" no"e "o se)ec"ion. Nou can assign a shortcut to this action A perhaps the letter 2. E+a&p)e %. !. .. /. E. G. #. Bith any ,D, item open in the ,D, (ditor, choose the Ac"ions9 0!o$ ac"ions )is" command. Click on the action Add ne+" no"e "o se)ec"ion. Click on the Add. button. This causes the 8eyboard or *7:7 7npu" window to be displayed. Press the letter 3. Click on '8. Nou can see that this keystroke has now been assigned to this action. /)ose the )ctions Rist. Click on any note to select it. 2ow press 3 several times. (ach time you do so, the selection will be e1tended by one note.
ThatJs about as simple as it gets. )s youJll see in Chapter %., the )ctions Rist (ditor lets you do much more than 3ust this. For e1ample, you can& )dd selected actions to the )ctions menu. Chain together any seCuence of actions so that the entire seCuence can be e1ecuted with 3ust a single keystroke.
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12.1; 7nCBine *7:7 Edi"ing
'()P('Js main ,D, (ditor is recommended for serious and in5depth editing of your ,D, items. Qowever, many common tasks can be carried out using the in5line editor if you prefer. This allows you to edit the ,D, item without leaving the main window. To use the in5line 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 'pen i"e&s in Edi"or then 'pen i"e&s in 7nC)ine Edi"or. The in5line editor will only be displayed if there is sufficient track height.
The in5line 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 Telocity lane will be selected by default. Nou can ad3ust the boundary between the editing area and the CC lane with the mouse to ad3ust its height, 3ust as in the ,D, (ditor. 'ight5clicking over the editing area will display a menu that will show you which editing tasks can be carried out with the in5line editor. These are listed in detail in Chapter !", but in summary, the following types of commands and actions are supported within the in5line ,D, editor& 2ote editing mouse actions, including change length, change velocity, marCuee, move, delete, insert, etc. ost commands on the ,D, (ditorJs (dit and Tiew menus, including Cuanti9e and humani9e.
Bhen you are working with the in5line editor, any keyboard shortcuts and custom actions that you have defined in the main ,D, (ditor will apply, along with any defaults. For e1ample, PageUp and Page:o$n will 9oom vertically in and out within the in5line editor. The in5line editor displays a small toolbar in its top right corner. From left to right, the function of these tools is& ove CC with events toggle tool. This serves the same purpose as its eCuivalent tool in the ,D, (ditor window. The >how*Qide tool ;magnifying glass?. This toggles between the functions >how all note rows, Qide unused note rows and Qide unused and unnamed note rows. The ,tem >tyle tool. This toggles between rectangle, triangle and diamond style for displaying notes. The vertical 9oom tool. Click and hold on this and drag vertically up or down to 9oom vertically in or out ;see e1ample, right?. The 4 tool. This closes the in5line editor and restores normal media item display.
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12.2 G!os" /opying
Dhost copying is a feature that lets you create multiple copies of a ,D, item in such a way that it is possible to edit all copies at the same time. Changes made to any single instance will be made to all instances. Perhaps you have a melody, a bass line, or a drum pattern that you wish to repeat several times throughout a pro3ect. NouJre still working on the line, and you may need at some future time to make changes to these items, but you wish to do this in such a way that when you make these changes they will automatically be applied to all of the items. Nou can achieve this using the command 7"e& processing9 /onver" ac"ive "a%e *7:7 "o fi)e Eg!os" copyab)eF before copying it. )ny ,D, editing changes you make to any one of these items will now be applied to all of them. ,f you later wish to convert any of your copies ;or the original item? back into a stand5alone ,D, item that can be independently edited, you can do so using the command 7"e& processing9 /onver" ac"ive "a%e *7:7 "o inCpro5ec" even".
E+a&p)e
%. ,n the e1ample ;right? we have a single ,D, item, labelled *7:7 Riff. RetJs now suppose that we make a couple of copies of this item ;see below?.
!.
..
2ow suppose we wish to make some changes to our riff. Be might use the in5line editor to add some more notes to the first event, as shown below.
/.
2otice that only the first item has changed. <f course, that could be what we want, but if this was a riff repeated several times in a song we might want all three items to be changed. This is where ghost copying comes in. RetJs go back to the beginning A where we had 3ust the one item A and start again. 'ight click over the single item and from the menu choose 7"e& processing then /onver" ac"ive "a%e *7:7 "o fi)e Eg!os" copyab)eF. 2otice that its name is now preceded by an asterisk. <nce again, make a couple of copies of this tem. This time because you are now working with a ,D, file you will need to use the main ,D, (ditor, not the in5line editor. Bhen you close the ,D, (ditor you will be asked to confirm that you wish to save the changes.
E.
G.
!.G

#. Nou should now see that all of the copied items have also been changed.
3o"e: To convert a ghost copyable file back into an ordinary ,D, item, right click and choose the command 7"e& processing then /onver" ac"ive "a%e *7:7 "o inCpro5ec" even".
12.21 Joining *7:7 7"e&s

There may be times when you wish to 3oin a number of ,D, items together. This might be simply so that you can edit them as one item, or perhaps to be able to e1port your ,D, data as a single ,D, file. Bithin the ,D, (ditor you can do this using the Fi)e9 E+por" "o ne$ *7:7 fi)e. command. ,t is important also to remember that outside the ,D, (ditor, '()P('Js normal media item editing facilities are available to you. any of these facilities and techniCues have been covered in the earlier part of this 7ser Duide. Det to know them, and take the trouble to e1plore how they can be of benefit to you. For e1ample, you might have several ,D, items that you wish to e1port together as a single file. The track shown below might be an e1ample of this. ,tJs no use opening the ,D, (ditor with 3ust one of the items. Nou want all three together. )t first you might think that this is not possible. ,f so, think again:
,f you wish to e1port these as a single file, simply glue the items together first, then open the glued item in the ,D, (ditor and e1port from there.
)bove you can see what happens when you select all of the items ;the easiest way to do this is to double5click in the Track Control Panel? then right click over any of the items and choose the G)ue se)ec"ed i"e&s command. Be can then double5click on the glued item to open the ,D, (ditor and e1port the glued ,D, item as a single file. $ust to show how this works, below you can see the glued items directly above the e1ported ,D, file, which has been imported back in as a separate track&
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12.22 0o&e *7:7 P)ugCins
'()P(' includes a good selection of plug5ins that can be placed into the F4 window of any of your ,D, tracks, or directly into any ,D, item. any of these ;the ,4 series? have been written and developed by Philip Consadine. These are not really part of the ,D, (ditor, but now is a good time to look at them. The basic steps involved in inserting and using Track F4 are covered in the section Track F4 Pasics. ,f you are unfamiliar with these steps, you should review that section before proceeding. ,f you display the Add F2 window and type midi into the filter list bo1 ;as shown on the right?, you will see a list of those listed some of the $> ,D, F4 supplied with '()P('. F2 3a&e *7:761oo) and *7:7 1oo) 77 *7:76//Rider *7:76(obu)a"or *7:76Rou"er *7:76:up)ica"eFi)"er *7:76Ve)ocifier 77 *7:76Varian" *7:768ey0nap *7:768ey*ap &idi6"ranspose &idi6ve)oci"ycon"ro) seTuencer6baby 0yn"!esis#&idi6dru&seT /o&&en"s These do interesting and fun things to ) RF< Controlled CC generator. ) RF< Controlled automatic pitch wobulator. 'outes events from one channel to another. Plocks duplicate notes. This is a pattern based velocity modifier. ) pattern based, musically aware, randomification monster. This is a good cheat for bad pianists. ) ,D, key mapping utility. ,D, note events.
,D, F4 that are currently available. Pelow are
Transposes a note or a range of note. 7sed to vary and control velocity on a )n awesome pattern seCuencer. 7se this drum seCuencer with your favourite patch set. ,D, track.
These plug5ins can be made even more powerful by the use of automation envelopes, which can be applied to any of their parameters. Qow to create, manage and apply automation envelopes will be covered in Chapter %/. For more information about how to use these and other ,D, plug5ins, visit the Cockos web site, and in particular http&**www.cockos.com*wiki*inde1.php*$esusonicH(ffectsHDocumentationZ ,D,
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12.23 *7:7 /on"ro))ed Pi"c! 0!if" $i"! ReaVoice
The ReaVoice plug5in ;supplied with '()P('? can be used in con3unction with a recorded vocal track to create interesting pitch shift harmonies. )s with many other plug5ins, ReaVoice can be used in a number of ways. ,n this section we will take you thru 3ust one e1ample. )fter completing this e1ample you should have the confidence to e1periment with this plug5inJs capabilities for yourself. The procedure for using 'eaToice is as follows& 'ecord the Tocal Track. ,nsert a new track immediately below the Tocal Track. Create a send from the Tocal Track to the new track. ,nitially at least, this should be Pre F4. ,nsert 'eaToice into the F4 Bindow of the new track. )rm this track for recording. >elect your ,D, keyboard as the ,nput Device and turn ,nput onitoring on. ute all tracks other than these two. Play the song. )s you do so, play the keyboard, e1perimenting until you find an appropriate range of notes. Bhen you have worked out what you want to play, press ( to return to the beginning, then /"r) R to record. >top recording when finished. ,f you do not have a ,D, keyboard, you can either use '()P('Js Tirtual keyboard, or you can enter the notes by hand using the ,D, (ditor. ,f you wish, you can record more than one harmony, selecting the Play )ll Takes option for the track items. )fter you have finished recording, you can use the ,D, (ditor to polish up your work. ,D,
E+a&p)e ,n this e1ample, youJll have some fun and find out how 'eaToice works at the same time.
%. !. .. /. E. <pen the file A)) 1!roug! 1!e 3ig!".rpp and save it as A)) 1!roug! 1!e 3ig!" REAV'7/E.rpp. ute all tracks e1cept the To1 track. ove the To1 track to the top, select it and press /"r) 1 to insert a new track. Nour To1 track is now track % and the new track is track !. 2ame the new track Vo+ *7:7. Display the 7#' window for the Vo+ *7:7 track and add a new Pre F2 Receive from the To1 track.
!.F

G. #. 0. F. ,nsert the ReaVoice plug5in into the F4 Bindow for this track. For now you can accept its default settings, as shown above. ,n the Vo+ *7:7 track, insert an empty ,D, item from about the %. second mark to about the E" second mark. .This should coincide with the first vocal passage on the To1 track. Double click on this to open it in the ,D, (ditor. Create a pattern of notes similar to that shown below. Nou donJt need to follow this precise pattern, be prepared to e1periment.
%".
)s you play the song, you can of course edit any individual note or notes, for e1ample, by moving them up or down, by lengthening them or shortening them, or by changing their pitch. Qere are some more possibilities, 3ust for fun and to give you some ideas. Bithin the all events. ,D, (ditor window, press /"r) A to select
%%. %!. %.. %/. %E. %G.
Press /"r) F2 to display the 3o"e Proper"ies dialog bo1. ,n the 3o"e bo1, type R1 ;as shown? then click on '8. This raises the entire selection by one semitone. (1periment with other settings as you wish. >ave the file when finished. 2ow e1periment with ad3usting some of the 'eaToice parameter settings.
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12.2> *7:7 Preferences 0e""ings
To specify your ,D, preferences, choose the 'p"ions9 Preferences command ;/"r) P? and then select the *edia9 *7:7 page. This causes the following window to be displayed. The main options are summari9ed in the table below.
'p"ion *7:7 oc"ave na&e disp)ay offse" /rea"e ne$ *7:7 i"e&s as *7:7 even"s in pro5ec" /rea"e ne$ *7:7 i"e&s as .*7: fi)es 7&por" e+is"ing *7:7 fi)es as *7:7 even"s in pro5ec" 7&por" e+is"ing *7:7 fi)es as .*7: fi)e reference 7&por" &u)"ic!anne) *7:7 fi)es
/o&&en"s >pecifies keyboard position relative to ,D, note number.
Nour new ,D, items are created as individual items within the current pro3ect. (ach file. ,D, item that you create is stored as a separate . ,D
,mported ,D, files are merged into the current pro3ect but as separate items. ,mported ,D, items are still stored as separate referenced via the ,tem Properties. ,D, files,
Choose between As a &u)"ic!anne) i"e& on a sing)e "rac% or As sing)e c!anne) i"e&s on &u)"ip)e "rac%s or A)$ays prp&p". >ets the number of ticks per Cuarter note assigned for new ,D, items.
1ic%s per Tuar"er no"e for ne$ *7:7 i"e&s
!/%
!/!
13 C 8eyboard 0!or"cu"s9 /us"o& Ac"ions9 *enus and 1oo)bars 13 8eyboard 0!or"cu"s9 /us"o& Ac"ions9 *enus and 1oo)bars
13.1 7n"roduc"ion
NouJll already have seen that '()P(' includes very many keyboard shortcuts. ,ndeed, by now you have used many of them. >ome of these are common to many Bindows applications, such as /"r) 0 ;File, >ave? and /"r) ' ;File, <pen?. any others, however are '()P(' specific, such as PageUp ;Soom out vertically? and Page:o$n ;Soom in vertically?. '()P('Js )ction Rist and )ction Rist (ditor serves two important functions. These should help you to get the most out of using keyboard shortcuts in '()P('. These are& Nou can browse and search the )ction Rist to find out which tasks already have shortcuts assigned to them, and what those shortcuts are, and Nou can create keyboard shortcuts of your own for those actions you consider most useful. Nou can even assign a single keyboard shortcut to a whole seCuence of actions.
13.2
,ro$sing "!e Ac"ion Bis"
The '()P(' )ction Rist is opened either by choosing the command Ac"ions9 0!o$ ac"ion )is" . from the main menu, or by using the Y shortcut key. This causes the window shown on the right to be opened. The number of actions for which you can create keyboard shortcuts is huge. ,n this chapter we will introduce you to 3ust a selection of some of the useful ways in which you can assign your own keyboard shortcuts and create your own custom actions. )fter that, itJs up to you to e1plore more for yourself. RetJs start by having a look at some of the ways in which you can make use of this window. 1o do "!is . Prowse the list >ort the list 'esi9e the window ove the window Lou need "o do "!is . (ither use the Page:o$n and PageUp keys or use your mouse with the vertical scrollbar on the right. Click on the header 0!or"cu" to sort in keyboard shortcut order, or on the header :escrip"ion to sort by action. Position your mouse over any of the windows edges or corners so that the mouse cursor changes to a double5headed black arrow. Click and drag to resi9e.
Click and drag the window by its title bar to the reCuired position.
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13.3 0earc!ing "!e Bis"
Nou can search the )ction Rist to find the current assignment ;if any? for any possible keyboard shortcut combination ;such as 8 or 0!if" 8 or /"r) 0!if" 8?. Nou can also search the list to see if any actions ;such as Rock selected item already has a keyboard shortcut assigned to it.
E+a&p)e
%. !. .. From the '()P(' main menu choose the Ac"ions9 0!o$ ac"ion Bis" . command. RetJs find out if the :o$n arrow has an e1isting assignment. Click on the Find s!or"cu" . button to open the 8eyboard or *7:7 7npu" window. Press the :o$n arrow key on your keyboard. The =eyboard ,nput window will close and you can see that this key has been assigned to the action Vie$:Noo& ou" !ori-on"a). 2e1t we want to see if the action to lock the currently selected media item has a current keyboard assignment. Click your mouse in the Fi)"er bo1 ;near the top left corner of the Ac"ions window? and type i"e&. 2otice that now only those actions which include the word item are listed. The list however is a long one. )fter the word i"e& type )oc% ;as shown below?. 2otice that list is now filtered to show only those actions which include both of the words. 2otice that actions are included if they have a derivative word ;such as locking? and regardless of the order in which the two words appear. 0. Be can see ;for e1ample? that the action 7"e& proper"ies: 1ogg)e )oc% se)ec"ed i"e& does not have a shortcut key assigned. 2ow backspace the te1t out from the Fi)"er bo1. )ll the actions will again be listed.
/. E.
G.
#.
F.
1ip: Nou can also browse the )ctions Rist in your web browser ;but not edit it?. To do this, choose the command A)) Ac"ions from '()P('8s <e)p menu.
!//
13 C 8eyboard 0!or"cu"s9 /us"o& Ac"ions9 *enus and 1oo)bars

13.> 7&por"ing E+is"ing 8eyboard 0!or"cu"s
The )ction list editor was introduced with version !./! of '()P('. Previously, you might have used an earlier version of '()P(' to create a keymap file to save your earlier keybindings. This would have been done within what was the =eyboard*Control page of the <ptions, Preferences window. Nou can import this file into the )ctions list editor using the 7&por"#e+por" button. >elect 7&por" from the menu, then select your =ey ap file and click on 'pen. >imilarly, you can use the E+por" a)) command to save your key bindings to a file. This is recommended as a precaution, along with backing up your files regularly.
13.?
/rea"ing a 3e$ 0!or"cu"
,n this ne1t e1ample, we will create a new shortcut. RetJs take the e1ample of item locking, which we have discovered does not yet have any shortcut key assigned to it. Bhen you are creating a new shortcut, you need to be careful not to accidentally overwrite one that is already assigned to something else. BeJll see shortly that you can do this if you wish, but as a general rule itJs preferable to use for new actions keystrokes that are currently unassigned. Be will therefore be checking on the availability of our preferred choice of shortcut key before assigning it.
E+a&p)e
%. !. .. /. From the Ac"ions menu, open the Ac"ions window ;0!o$ ac"ion )is" .? RetJs see if we can use B for item locking. Click in the Find s!or"cu" . window. Type B and observe the response. Be can see that this key is already assigned to another command. Be do not want to over5write that, so letJs try again. Click in the Find s!or"cu" . window. Press A)" 0!if" B and observe the response. This time you should see a message 0!or"cu" no" found. Be therefore know that this keystroke combination is available. Click '8 to close this message bo1. ,n the Fi)"er bo1 type i"e& )oc% then select from the list of actions ,tem Properties& Toggle lock for selected items. Click on the Add button to open the 8eyboard or *7:7 7npu" bo1. Bhen it appears, untick the option Au"o&a"ica))y c)ose $indo$ on %ey#*7:7 inpu". This makes it less likely that you will assign a wrong key by mistake.
E.
G. #.
0.
!/E

F. Press A)" 0!if" B A you will see this key combination displayed in the 8eyboard or *7:7 7npu" bo1.
%". Click on '8. Nou can see that this keyboard shortcut has now been assigned. %%. Close the Ac"ions window. %!. ,f you now select any item A or number of items A you can now use the shortcut keys A)" 0!if" B to toggle their item lock status on and off.
13.=
/!anging an E+is"ing 8ey Assign&en"
The procedure for changing an e1isting key assignment is similar to that for creating a new one. Nou simply need to find the action that you want assigned, assign the shortcut key and confirm that you do want to over5 write the previous assignment.
E+a&p)e
The Up and :o$n arrow keys by default duplicate the functions of the R ;plus? and G ;minus? keys. Be might wish to change this so that in the Track Control Panel we can use the Up and :o$n arrow keys to move to the previous or ne1t track instead of /"r) A)" Up and /"r) A)" :o$n. %. !. <pen the Ac"ions window. ,n the Fi)"er window type "rac% ne+". That will filter the list to show 3ust a few items. >elect the action Track& Do to ne1t track. ,n the section headed 0!or"cu"s for se)ec"ed sec"ion double click on the te1t CtrlU )ltUD<B2. The Edi" 0!or"cu" bo1 is displayed ;see above?. Press the :o$n arrow then '8. ) message will be displayed stating 8ey is a)ready &apped "o Vie$: Noo& ou" !ori-on"a)9 overrideY Click on '8. The :o$n arrow key is now assigned to Track& Do to ne1t track. 2ow repeat the procedure outlined in steps !. to G. to assign the Up arrow to the action Track& Do to previous track.
.. /. E. G.
#.
0. Bhen finished, click on 7&por"#E+por" then select E+por" a)). Type a name ;such as *y8eys and click on the 0ave button. 3o"e: ,f you wished to assign :o$n as your shortcut key as well as ;rather than instead of? /"r) A)" :o$n then at step /. you would click on the Add button instead of double5clicking on the te1t.
!/G

13.@ Using 8eyboard 0!or"cu"s $!en Recording
'()P(' makes e1tensive use of keyboard shortcuts in many, many areas. ,n this section you will be introduced to how you can create your own keyboard shortcuts to make your recording sessions flow more smoothly. Qere is a simple e1ample in which you will create two keyboard shortcuts specifically for use when you are recording. )s you become more e1perienced, you may well find further e1amples that you will wish to e1plore. Nou will have noticed that when you stop recording, '()P(' by default displays a prompt similar to that shown on the right. This gives you the opportunity to 0ave A)l, :e)e"e A)), or select which items you would like to be deleted. Nou can make this process simpler by assigning keyboard shortcuts for those options that you use most often A 0ave A)) and :e)e"e A)). These can then be used to stop recording and accept your choice in one action, thus by5passing the prompt. ,n this case we will assign 0 to 0ave A)) and : to :e)e"e A)). oreover, we will do so in such a way that these key bindings will only apply when recording is in progress. 2ote that these assignments will only be applied when recording. For e1ample, the key 0 will still be able to be used to split items when you are editing. %. !. Create a new pro3ect file and add three tracks. )rm all three tracks for recording. 2ow we will create the key bindings. Choose the Ac"ions9 0!o$ ac"ion Bis" command ;or press Y? to display the Ac"ions window. >elect the >ection *ain Ea)"erna"e recordingF ;see right?. ,n the filter bo1 type s"op save. >elect the action Transport >top ;save all recorded media?. Click on Add . and type 0 Click on '8. 'emove the contents of the filter bo1 ;click after the last letter there and use the ,ac%space key?. ,n the Fi)"er bo1 type& s"op de)
..
/. E. G. #. 0. F.
%". >elect the action Transport& >top ;D(R(T( all recorded media?. %%. Click on the Add button then type : to assign this shortcut to the letter D. Click on '8. %!. Clear the filter bo1 again. %.. Click on the header 0!or"cu" to sort your list of actions. Nou should see your custom keyboard assignments at the top of the list. %/. Click on the 7&por"#e+por" button and follow the same method as previously to save your key bindings. %E. Close the Ac"ions window. %G. ake sure that the option to Use a)"erna"e %eyboard sec"ion $!en recording is enabled. NouJll find this under 'p"ions9 Preferences9 8eyboard. Close the Preferences window.
%#. Bith all three tracks armed for recording, press /"r) R to start recording three empty tracks.
!/#

%0. )fter a few seconds, press :. This will stop the recording and delete all three unwanted items. %F. Bith all three tracks still armed for recording, press /"r) R to again start recording three empty tracks. !". )fter a few seconds, press 0. This will stop the recording and save the three media items. ,f you now wish to delete these three items, press /"r) N ;7ndo? and they will be removed. 1ip: ,f you wish, you can assign macros such as these to an e1ternal device such as a keyboard pedal.
13.A
/rea"ing /us"o& Ac"ions
Nou can assign a seCuence 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 macro. ,n this ne1t simple e1ample, we will assign the letter * to stop recording, save the recorded media, and drop a marker at the point where the newly recorded media items start. The procedure varies from what we have done previously in two main respects& Nou will need to give your macro a name. Nou can use drag and drop to create your list of actions that are to be assigned to that macro.
E+a&p)e
%. !. .. Choose the Ac"ions9 0!o$ ac"ion Bis" command ;or press Y? to display the Ac"ions window. >elect and display the section *ain Ea)"erna"e recordingF. ,dentify the section near the bottom of this window that is labelled /us"o& Ac"ions ;shown here on the right?. Click on the 3e$ . button. This causes the /rea"e /us"o& Ac"ion window to be displayed. ,n the /us"o& ac"ion na&e bo1 type& 0ave &edia and drop a &ar%er ,n the Fi)"er bo1 type& s"op sav Drag the action Transport& >top ;save all recorded media? into the right hand window ;or double5click on the action?. Delete the te1t from the Fi)"er bo1 and type& &ar% ins Double5click on the action
/. E. G. #.
0. F.
arkers& ,nsert marker at current position.
%". >elect the options to 0!o$ in ac"ions &enu and /onso)ida"e undo poin"s. This will ensure that when you are recording this macro will be available from the )ctions menu, and that the entire macro will appear as only one item in your undo history. %%. Click on '8 to close the /rea"e /us"o& Ac"ion window. %!. Click on the Add button to define your shortcut key.
!/0

%.. Press *. %/. Nou can see that your custom macro is included in the list. %E. 7se the 7&por"#E+por" button to save your work, using the same file name as before. %G. Close the Ac"ions window. %#. Try recording a track or two, then pressing * to stop the recording.
13.;
8eyboard 0!or"cu"s for 1rac% /on"ro) Pane) Func"ions
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 freCuently repeated activities that might otherwise involve a lot of time fiddling around with the mouse. =eyboard >hortcuts are an e1tremely important feature of '()P('. )s you work your way thru this 7ser Duide, 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. Qere are some e1amples 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. 1as% Track& Toggle bypass F4 for currently selected track;s? Track& Toggle bypass F4 for all tracks Track& Tiew ,*< for current track Track& Tiew envelopes for current track Track& Tiew F4 chain for current track Possib)e 0!or"cu" 8ey , L 7 E F
13.1
Using a /on"ro) 0urface $i"! REAPER
,f you have a control surface such as a Pehringer PC'!""" or a 2ovation 2octurn then you can use it to control some of '()P('8s actions. These might include track panning and volume, mute and solo status, arming and starting*stopping recording, and possibly to physically map '()P('Js transport bar for functions such as Play, >top, 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 7ser Duide. Nou should also be aware that different control devices have different capabilities and different applications. 2ot 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 are or can be recognised by '()P(' as a specific and individually named control surface. Deneric devices which although not specifically and individually recognised can nonetheless be used as a control surface.
!/F

,f you are using any of the devices listed in the illustration on the right, you should be able to install it on the /on"ro) 0urfaces page of '()P('8s <ptions Preferences settings. <f course, you should consult the manufacturer8s documentation and*or web site for further information. Nou may also be able to find further information on one of '()P('8s on5line forums.
(ven if your device is not shown on this list, you might still be able to install and use it as shown here if it is capable of emulating one of the devices that is listed. For e1ample, the 2ovation 2octurn can be installed as a <ui because it is capable of emulating this product. )gain, check the various documentation and web sites that are available to you. ,n every case, make sure that you choose the options that are correct for your device from the various /on"ro) 0urface 0e""ings options. >hown on the right is one e1ample of such settings 5 it is not intended as a model that can be used with any particular product. <f course, it is perfectly possible for you to install several devices in this way. For e1ample, 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. Nou will need to consult the product documentation to ascertain how then your control surface;s? can be used with '()P('.
!E"

,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 e1ample of such a product is the Pehringer PC'!""". <nce it has been physically set up and installed on your computer, it will appear on the list of '()P('8s ,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 U0, Audio :evice.
,nstall it as a ,D, Device, most likely ,nput <nly and in most cases Control <nly. )n e1ample of this is shown above. ,f you wish, you can assign it a more recognisable name than that listed by selecting the A)ias inpu" na&e option. Nou 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. First select the action, click on Add then instead of pressing a key on the keyboard, tweak the control surface control and click on '8. )n e1ample is shown on the right 5 in this case we are assigning a rotary control to be used to ad3ust the panning of track %. <f course, for further information you should consult the documentation supplied with your device, the manufacturer8s web site, or one of the '()P(' forums.
!E%

13.11 Assigning a 0!or"cu" "o an Edi"ing 0eTuence
Be have already seen that you can assign more than one action to a single keystroke or keystroke combination. ,n this section we will introduce you to some relatively simple e1amples of how you can create useful macros that will make your life easier when you are editing, 3ust by chaining seCuences of three or four commands together. =eep in mind that they are intended primarily to serve as e1amples to help you learn how to create your own macros. For e1ample, there could be numerous occasions when you will wish to mute a time selection for a specific track, or perhaps a number of specific tracks. ,n this ne1t e1ample, you will learn how to be able to achieve this each time with 3ust a single keystroke. E+a&p)e %. !. .. <pen the Ac"ions window, either from the Ac"ions menu or by pressing the Y key. *ain section is selected and displayed. Click on the 3e$ . button and name your new action *u"e se)ec"ed area. 7sing the filter techniCues that you have learnt from the previous e1amples in this chapter, find each of the four actions shown below and drag them across to the right hand window ;or double5click on the action?. Nou can find and select these in any order you wish, then drag and drop them up or down the list to change the order. Nou should select /onso)ida"e undo poin"s if you wish the macro to appear as a single event in your undo history. Pecause this macro uses the mouse cursor position, however, you probably wonJt want to add it to the actions menu. Click on '8 to close the /rea"e /us"o& Ac"ion window. Click on Add to select a shortcut key. Type 8 and click '8. Click on 7&por"#e+por" and save your work, as before. Click on /)ose to close the Ac"ions window. ake sure the
/.
E. G. #. 0.
F.
%". Nou should now find that you can make any time selection, then hover your mouse over any track and press 8 to mute the selected area for that track. Nou can repeat this, hovering your mouse and pressing 8 for as many tracks as you wish.
13.12 Running Ac"ions#*acros

Nou can run any listed action from the Ac"ions window by either double5clicking on the action or by selecting the action and clicking on either the Run button ;to run the action and keep the )ctions Rist window open? or the Run#/)ose button ;to run the action and close the window?. 2otice that recently e1ecuted actions and macros will also be shown on the Ac"ions menu ;along with any custom macros that you have placed there? and can be e1ecuted from this menu. ,n this e1ample ;right?, we have added three custom
!E!

macros to the )ctions menu. 'emember also that you can add macros and custom actions to the main '()P(' toolbar.
13.13 2ena%ios and 0(0 E+"ensions

,n an earlier chapter you were introduced to some of the 4enakios and >B> e1tensions. )ny of these commands can also be assigned to a keyboard shortcut or macro, either on its own or in combination with any other '()P(' assignable actions. Nou can of course filter the )ctions Rist to obtain a full listing of all the available e1tension commands. ,n this ne1t e1ample, we will create a simple macro that will enable us to set the volume of all of the media items in a selected track all at the same time.
E+a&p)e
%. Display the Ac"ions window, either from the Ac"ions menu or by pressing the Y key. Click on the Add. button to create a new custom action. 2ame this action )d3ust volume of all items in selected track. Find and drag across to the right hand window the following three actions&
!.
,tem& >elect all items in selected tracks, and 4enakios (1tensions& >et volume of selected items, and ,tem& 7nselect all items.
.. /. E. G. #. 0. F. ,f you wish, select the options to add this macro to the )ctions menu and to consolidate its undo points. Click on '8 to close the /rea"e /us"o& Ac"ion window. Click on Add and press 0!if" V Click on '8 to close this bo1. Close the Ac"ions window. >elect any track which consists of multiple items, then press 0!if" V Bhen the 0e" Vo)u&e of 7"e&s dialog bo1 is displayed, type a number, such as 3 or G3 and press En"er. The volume of all items on that track will be set to the new level.
13.1> Re&oving an Assigned 8eyboard 0!or"cu"

To remove any current keyboard shortcut assignment, simply select the action or custom item in the )ction Rist and click on the :e)e"e button. To remove all of your changes and restore the '()P(' default assignments, click on the ,mport*e1port button and select 'estore all shortcut bindings to factory defaults.
!E.

13.1? *e"a Ac"ions
eta actions are special actions that take your custom action macros a step further, for e1ample to be able to repeat the same macro as many times as is reCuired without you having to keep pressing the same shortcut keys. This techniCue can be useful in an e1ample such as if you need to drop a marker at the start of each verse of a song. >ome songs might have two or three verses, others five or si1. This is a perfect e1ample 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
E+a&p)e
Take a look at the e1ample on the right. ,f you create this custom action macro and assign it a keyboard shortcut ;such as /"r) 0!if" 8?, then you can use it in this way. >elect any track which is made up of multiple items and position the play cursor at the start of the timeline. Nou 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. Nou will then be asked if you wish to continue ;see illustration below?.
,f you press En"er or click on Les, the play cursor will move to the start of the ne1t item, insert a marker there, and ask the Cuestion again. ,f you click on 3o, then the e1ecution of the custom action macro will stop.
13.1= Edi"ing a /us"o& Ac"ion *acro

,f you wish to edit a custom action macro, simply find that macro in the )ctions list, select it and click on the Edi". button. This opens the Edi" /us"o& Ac"ion $indo$, which has the same functionality as the )dd Custom )ctions window. Nou can remove or add items, change their order, change the custom actionJs name, or change any of the options ;such as 0!o$ in ac"ions &enu or /onso)ida"e undo poin"s?.
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13.1@ Assigning Ac"ions "o "!e *ouse$!ee)
Nou can change the '()P(' default mousewheel assignments. This can be useful, for e1ample, if you wish the default behavior of the mousewheel to be to scroll rather than to 9oom. Nou might wish to do that if your primary use of the mousewheel is for scrolling rather than 9ooming.
E+a&p)e
,n this e1ample, we will first change the primary behavior of the mousewheel from Soom hori9ontal to >croll vertical. Be will then change the other mousewheel actions accordingly. G. #. <pen the Ac"ions Bis", either from the main menu or by pressing Y. ,n the Fi)"er window type& $!ee) to display a list which includes all current mousewheel assignments. >elect Vie$: scro)) ver"ica))y and double5click click on the te1t Ctrl U )lt U 0!or"cu"s for se)ec"ed ac"ion bo1. This opens up the Edi" 0!or"cu" window. >croll the mousewheel. The te1t will change to display 3ust *ouse$!ee).
0. F.
ousewheel in the
%". Click on '8. %%. Bhen asked if you wish to over5ride the e1isting assignment, click on '8. %!. 2ow select the action Vie$: 0cro)) !ori-on"a))y and double click on the te1t displayed in the 0!or"cu"s for se)ec"ed ac"ion bo1. %.. Bhen the Edi" 0!or"cu" window opens, hold the 0!if" key while you scroll the mousewheel. Click on '8, then '8 again to over5ride the previous assignment. %/. 'epeat this procedure for the remaining two mousewheel scroll assignments, so that when you have finished the assignments will be as shown on the right. %E. Click on the 7&por"#e+por". button to save your work. %G. ,f you really want to have some fun, add a custom action of your own that will 9oom both vertically and hori9ontally ;see right?. ake sure it is added to the ac"ions &enu and assign /"r) A)" *ouse$!ee) to this action. %#. Nou can now e1ecute this action either from the menu or by holding down /"r) and A)" while 9ooming.
!EE

13.1A *7:7 Edi"or Ac"ions and *acros
'()P('Js Ac"ion Bis" includes special sections for the *7:7 Edi"or and the *7:7 Even" Bis" Edi"or. Nou will substantially improve your workflow together with your ability to achieve better outcomes if you take the time and trouble to get to know the assignable actions that are available and how you can use them. The number of assignable actions is huge, and their possible permutations offer tremendous scope for helping you with your ,D, editing. ,n this section, we will introduce to some very simple e1amples, 3ust to get you started. The rest is up to you:
E+a&p)es E1F
This first set of four simple macros ;supplied by Pevosss? will help you when you are navigating within the (ditor. They will allow you to move by selected ,D, note and have the edit cursor follow your actions. %. !. .. /. E. G. <pen any '()P(' pro3ect file that contains at least one Double5click on a ,D, item to take it into the ,D, item. ,D, (ditor. ,D,
From the main menu, choose the Ac"ions command, then 0!o$ ac"ion )is". ake sure that the section *7:7 Edi"or is selected. Click on 3e$. to create a new custom action. Bhen the /rea"e /us"o& Ac"ion window opens, name the action 3e+" rig!". Find and drag and drop ;or double5click? to copy each of the two actions shown into the right hand pane&
2avigate& select ne1t note right with same note value 2avigate& move edit cursor to start of selection
#. 0. F. >elect the options to 0!o$ in ac"ions &enu and /onso)ida"e undo poin"s. Click on '8 then on Add to define your keystrokes. Press /"r) A)" Rig!"Arro$
%". Click on '8. Nou can now use this same techniCue to create three more custom action macros& /on"ro) A)" Bef"Arro$& 2avigate& >elect ne1t note left with same note value 2avigate& ove edit cursor to start of selection /on"ro) A)" UpArro$& 2avigate& >elect ne1t note right 2avigate& ove edit cursor to start of selection /on"ro) A)" :o$nArro$& 2avigate& >elect ne1t note left 2avigate& ove edit cursor to start of selection 3o"e: ,n these e1amples, the /"r) A)" Bef" and /"r) A)" Rig!" will move along to the ne1t or previous note of the same value as the currently selected note. The /"r) A)" Up and /"r) A)" :o$n movements will find the ne1t or previous note of any value.
!EG

E+a&p)e E2F This second e1ample ;also supplied by Pevosss? is particularly useful when you are editing ,D, drum parts. ,t enables you to copy a selected note to another position whilst preserving its position in measure. The techniCue is especially useful if the note being copied does not fall on the bar line. ,t avoids the need to be 9ooming in and out and tweaking the noteJs position to ensure that it is placed accurately. %. !. .. /. E. <pen the ,D, (ditor with any item and choose the Ac"ions9 0!o$ ac"ions )is". command. Click on 3e$. to create a new custom action macro. Dive the macro a suitable name. Find and add the three actions shown. ,f you wish, select the option to /onso)ida"e undo poin"s. Click on '8 to close the Create Custom )ction window, then on Add to display the 8eyboard or *7:7 7npu" bo1. Press 0!if" V to define your keyboard shortcut, then '8 to close this bo1. Close the )ctions window. 2ow select any note that you wish to copy. Qover the mouse at the position that you wish to insert the note. Nou do not need to be e1actly on a bar line A anywhere within the target measure will do.
G. #. 0. F.
%". Press 0!if" V A the copy of the note will be pasted in at precisely the right position. E+a&p)e E3F ) macro with this command seCuence will automatically remove all duplicate events from the item currently open in the ,D, (ditor. Nou can create it using the same method as in the previous e1amples. (dit& >elect all 'emove selected duplicate events (dit& 7nselect all
13.1; *7:7 Edi"ing *acros G 0o&e *ore 7deas

The deeper you dig into the ,D, (ditor )ctions Rist, the more ideas for useful macros you will come up with. Qere are 3ust a few more ideas, kindly supplied by )le1 >tone. 7nser" 3o"e *acros 1!is c!ain of ac"ions . Drid& >et grid division to % (dit& ,nsert note at edit cursor (dit& 7nselect all . does "!is4 Creates and inserts a semibreve ;or whole note?. The grid sets the duration, insert note is self e1planatory, and unselect all, ensures we don8t keep adding active notes as we go. Creates and inserts a minim, or half note.
Drid& >et grid division to \ (dit& ,nsert note at edit cursor (dit& 7nselect all Drid& >et grid division to ] (dit& ,nsert note at edit cursor (dit& 7nselect all
Creates and inserts a crotchet, or Cuarter note.
!E#

1!is c!ain of ac"ions . Drid& >et grid division to % (dit& ove edit cursor right by grid (dit& 7nselect all . does "!is4 ,nserts a rest. ,t does so Py mapping the eCuivalent grid lengths and forwarding the edit cursor, without inserting a note.
13.2
3E(4 'pening "!e Ac"ions Bis"
The <e)p9 A)) Ac"ions command ;from the main '()P(' menu? can be used to open your default web browser and display a searchable and printable list of all assignable '()P(' actions. Nou8ll find there are around %,""" of them. ,n this chapter we8ve given you a range of e1amples to get you started. The rest is up to you:
13.21 8eyboard Preferences
The 'p"ions9 Preferences9 8eyboard section can be used to& >pecify that your alternate keyboard shortcuts are to be used when recording. >top the A)" key from bringing up the main menu when it is pressed. <pen the )ctions window. Display your keyboard assignments as a printable and searchable QT R document in your default browser window.
13.22 3E(4 7&por"ing 0crip"s

Nou can import into '()P(' any custom Perl scripts or Python scripts that you may have written or obtained and which adds e1tra functionality to the program. The topic of writing scripts is outside the scope of this 7ser Duide. Qowever, to import any such scripts into the )ctions (ditor, simply click on the 'ea>cript Road button, select the reCuired script file from the Road >cript window and click on 'pen.
!E0

13.23 3E(4 /us"o&i-ing "!e REAPER *enus
Nou can customi9e '()P('8s main menu and most important conte1t menus in any of 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 e1isting menu.
To open and display the /us"o& *enu interface, choose from the main menu the command 'p"ions9 /us"o&i-e *enus#1oo)bars. This causes the Customi9e menus*toolbar window to be displayed.
The table below summari9es the main tasks that can be carried out within this window. 7n order "o do "!is ... 0e)ec" a &enu for cus"o&i-a"ion . you need "o do "!is. Display the drop down list ;top left of window? and select the reCuired menu ;shown above is the ain (dit menu?. Click on the Re"i")e button. Type the new name and press En"er >elect the command in the left hand column ;click once?. 'ight5click and choose Re&ove from the menu, or click on the Re&ove button located below the customi9ed menu pane.
/!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
!EF

7n order "o do "!is ... /!ange "!e posi"ion of a co&&and on "!e cus"o& &enu . you need "o do "!is. (ither . in the left column, drag and drop the command up or down to its reCuired position. <r K in the left column select the command that you wish to move. Press /"r) 2. Click at the position where you wish the command to be placed. Press /"r) V. /opy a co&&and fro& one &ain )eve) &enu "o ano"!er >elect the first main menu from the menus drop down list. >elect the reCuired command and press /"r) /. >elect the second main menu from the menus drop down list. Click at the reCuired position in the customi9ed window ;left? pane and press /"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 e1isting command above which you wish to insert your custom action. Click on the Add button, then choose Ac"ion from the menu. >elect your item from the list then click on the 0e)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 e1isting command above which you wish to insert the separator. Click on the Add button, then choose 0epara"or from the menu. ,n the left column, click to select the e1isting command above which you wish to insert the label. Click on the Add button, then choose Babe) from the menu. ,n the left column, click at the position you want the submenu inserted. Click the Add button, then on 0ub&enu. Type a name then press En"er. Click on the 0ave button.
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
0ave c!anges &ade "o "!e curren" cus"o& &enu Res"ore "!e one or a)) cus"o& &enus "o "!e defau)" se""ings E+por" "!e curren" cus"o& &enu or a)) &enus as a Reaper *enu 0e" Rep)ace "!e curren" cus"o& &enu or a)) &enus $i"! a previous)y saved Reaper *enu 0e" 7nc)ude REAPERDs defau)" &enus $i"! your cus"o& &enus
Click the Rese" button, then choose either Rese" /urren" *enu or Rese" A)) *enus. Click on E+por"... , choose E+por" A)) or E+por" /urren", then type a name and click on 0ave. Click on 7&por"... then select the reCuired menu set file, then click on 'pen.
Tick the 7nc)ude defau)" &enu as sub&enu option ;top right of window?.
!G"

13.2> 3E(4 /us"o&i-ing "!e REAPER 1oo)bars
Customi9ing '()P('8s main toolbars ;including the ,D, (ditor toolbars? can make it easier to make '()P(' work for you to work the way that you would like it to. For e1ample, 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 e1isting 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 e1isting icon.
)ny changes to the e1isting default toolbar layout are made thru the /us"o&i-e *enus#1oo)bars dialog bo1. This can be displayed by right5clicking over the empty area of the toolbar background, or by choosing /us"o&i-e *enus#1oo)bars from the 'p"ions menu. Bhen the Customi9e enus*Toolbars window is displayed, choose *ain 1oo)bar or one of the *7:7 Vie$ toolbars from the drop down list in the top left corner ;see position of mouse cursor, below?.
The table below summari9es the main tasks that can be carried out within this window. 7n 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 3ust above the window8s command buttons. ,n the e1ample shown, (nable etronome has been selected. Click on the Re&ove button.
!G%

7n order "o do "!is ... Assign a differen" icon "o an e+is"ing "oo)bar i"e& . you need "o do "!is. 'ight click over the item in the left panel. Choose /!ange 7con. Click on the reCuired icon from the selection displayed. Close the >elect Toolbar ,con window. Add a ne$ ac"ion or co&&and "o "!e "oo)bar ,n the customi9ed toolbar area ^left panel? 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 0e)ec"#/)ose. '()P(' will add this to your toolbar and assign an icon. 1o c!ange "!e icon used for any "oo)bar i"e& Einc)uding an i"e& "!a" you !ave addedF 'ight click over the icon in the icon display near the bottom of the Customi9e enus*Toolbars window, 3ust above the command buttons. This causes the >elect toolbar ,con to be displayed. >elect your reCuired icon then close the >elect Toolbar ,con window. Rep)ace a "oo)bar icon $i"! "e+" 'ight click over the item in the customi9ed toolbar list in the left panel. Choose 1e+" 7con from the menu, type the te1t then click '8. 7se the mouse to drag and drop up or down the list shown in the customi9ed toolbar list. Ctrl 4 * Ctrl T may also be used, as can Cut and Paste from the right click conte1t menu. Click on the /)ose button. Choose 3o when asked if you wish to save your changes. Click on the 0ave button. Click the Rese" button. Choose Rese" /urren" *enu# 1oo)bars "o :efau)"s from the menu. >elect Les to confirm8
/!ange "!e posi"ion of an i"e& on "!e "oo)bar
/)ose "!e /us"o&i-e *enus#1oo)bar (indo$ $i"!ou" saving your c!anges 0ave "!e "oo)bar $i"! your c!anges Res"ore "!e "oo)bar "o i"s defau)" s"a"us
!G!

13.2? 3E(4 F)oa"ing 1oo) ,ars
'()P(' includes a floating set of four tabbed toolbars that you can customi9e to suit your particular reCuirements. Py selecting which commands and actions are added to these toolbars, you are able to give yourself one click access to your most important commands and actions at any time. To toggle the display of this toolbar, use the Vie$9 F)oa"ing 1oo)bar command from the main menu. <f course, you can assign a keyboard shortcut to this is you wish. The window can be dragged, resi9ed and positioned anywhere you like on your screen. (ach bar by default includes a single tool labeled Edi" *e and which has no command or action assigned to it ;see above?. Nou can add commands to each or any of these toolbars as you wish. The following table summari9es the main options. 7n order "o do "!is ... 0e)ec" any of "!e "abbed "oo)bars for edi"ing /!ange "!e na&e of any "abbed "oo)bar . you need "o do "!is. Reft click on the tab to select it, then right click to display the /us"o&i-e *enus#1oo)bars window. Bith the toolbar selected in the Customi9e enus*Toolbars window, click on Re"i")e... then type the new name then click on '8. Bith the toolbar selected in the Customi9e enus*Toolbars window, click on Add... to display the )ctions Rist. >elect the command or action and click on 0e)ec". 'ight click over the item in the customi9ed toolbar panel ;left? and choose 1e+" 7con... Type the te1t then click '8. 'ight click over the item in the customi9ed toolbar panel ;left? and choose /!ange 7con... >elect the reCuired icon from those displayed, then close the 0e)ec" 1oo)bar 7con window. >elect the item in the Customi9ed Toolbar ;left? panel and click on Re&ove. Drag and drop items up or down the list displayed in the customi9ed toolbar ;left? panel. Click on the 0ave button in the Customi9e window. enus*Toolbars
Add an ac"ion or co&&and "o a cus"o& "oo)bar
1o edi" "!e "e+" of a cus"o& "oo)bar bu""on 1o assign an icon ins"ead of "e+" "o a cus"o& "oo)bar bu""on
1o re&ove an i"e& fro& a cus"o& "oo)bar Einc)uding "!e Edi" *e bu""onF 1o c!ange "!e order of icons on a cus"o& "oo)bar 1o save a cus"o& "oo)bar se"
1o e+por" a cus"o& "oo)bar se"
7se the E+por"... button, then choose E+por" curren" &enu#"oo)bar "o . Bhen prompted, type a name and click on 0ave. 7se the 7&por"... button, select the reCuired file name, then click on 'pen.
1o i&por" a previous)y e+por"ed "oo)bar se"
>hown right is an e1ample of custom toolbars, with the fourth tab being used to give easy access to various windows and track screen sets.
!G.

13.2= 3E(4 /rea"ing 0&ar" 1oo)s
,f you have used other D)B software ;such as Cubase, Pro Tools or >onar? 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. Nou have already seen that this method of working is not native to '()P('. Qowever, 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 Rist includes a number of actions suitable for this sort of treatment. These include actions like 7"e&: 0p)i" 7"e& Under *ouse /ursor. ,n addition, you may also have created some custom actions of your own, for e1ample to select and mute or delete items. Nou can find out more about creating custom actions like these in Chapter %.. To create a >mart Tool for any such action or custom action, you first need to assign the action or custom to the toolbar, as e1plained in the section before this one. ,n this e1ample, we have created a button to 0p)i" 7"e& Under *ouse /ursor. Then, to use it as a smart tool, simply do this& %. 'ight click over the tool. The mouse cursor will change to the letter A. ,f you hover the mouse there long enough, a tool tip will be displayed. Reft click on ;in this e1ample? the item to which you want the action to be applied, at the e1act position that you want the action to occur.
!.
,n the e1ample shown here, you would right5click on your user5defined >plit tool, then click the mouse on any media item to split it at that point. <nce a tool is armed it will remain armed until you LunarmM it. To do this, either right click on the armed tool. or press Esc immediately after using it.
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1> C 3E(4 REAPER Au"o&a"ion 1> 3E(4 REAPER Au"o&a"ion

1>.1 (!a" is Au"o&a"ionY
)utomation enables you to ensure that when your pro3ect is played back, changes in such things as volume level or panning for different tracks can be remembered and played back in real time, with the pro3ect. )t its simplest, for e1ample, you can use automation to lift the volume of a lead instrument during a particular break or passage, or to add a little presence or warmth to the odd phrase here or there on a vocal track, to make it stand out in the mi1 a touch more. )n e1ample of a simple envelope ;for Tolume? is shown here. The envelope is in this case displayed below the media item. Bhen the track is played, the volume of the track will rise and fall, following the shape of the envelope. ,n this second e1ample ;below? the same envelope is displayed this time not in its own lane but on top of the media item. Poth 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 much trickier. Bhether your envelopes are initially created in separate lanes or over the media item will depend on your (diting Pehavior Preference >ettings. '()P(' features two main types of automation A one method uses envelopes alone, whilst the other uses a rather more comple1 ;and powerful? techniCue known as parameter modulation. This chapter will deal with only the first of these automation methods, creating and using envelopes. Parameter modulation is a more advanced concept and will be covered in a later chapter.
1>.2
Au"o&a"ion Enve)ope *e"!ods
'()P(' makes available to you two ways of using envelopes for automating your pro3ects. Poth have their advantages and you can use either method in your pro3ects or a combination of both, as you prefer. (ri"ing Au"o&a"ion: Bhen writing automation, you are able to instruct '()P(' to remember your actions A such as fading the volume control up and down for any track or tracks A as your pro3ect is played. These actions are used to create an envelope which is then reproduced when you play back or mi1 down the track. There are actually three different methods that you can use to write your envelopes A write, touch and latch. BeJll get round to e1plaining the differences shortly. :ra$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 pro3ect. Nou can draw your envelopes 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 e1actly the same way as if actual fader movements had been recorded.
Bith both recorded and envelope automation, it is perfectly possible ;and Cuite easy? to edit the automation instructions afterwards, or to remove them altogether if thatJs what you want to do.
!GE

1>.3 *anaging Enve)opes
)ny trackJs envelopes can be managed by displaying the Enve)opes (indo$ for that track. This is opened by clicking on the trackJs Enve)ope button in either the TCP or CP. Nou use this window, for e1ample to& >et the Au"o&a"ion &ode for the track. Create an envelope ;e.g. for Tolume, Pan or ute for a track or send?. 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 e1plained and e1plored in the pages that follow. The <ig!)ig!" bo1 can be used to help you find what you are looking for more easily. For e1ample, type volume in the highlight bo1 and all items whose name includes volume will be highlighted. 2otice also that any plug5ins that have been placed in the trackJs F4 chain will also be listed in this window. ,n this e1ample, we have 'ea(@ and 'eaComp. Py clicking on the small R symbols to the left of the plug5inJs name you are able to open up a list of plug5in parameters for which you can also create envelopes. BeJll see some e1amples of this shortly. Checking the option to 0!o$ )as" "ouc!ed F2 para&e"ers on)y can help prevent screen clutter.
1>.>
Avai)ab)e 1rac% and 0end Enve)opes
The following are the automation envelopes that by default are available for all tracks and sends. The Cuestion of envelopes for plug5ins and F4 will be discussed later in this chapter. 1rac% Enve)ope Vo)u&e EPre F2F :escrip"ion )d3usts the volume of the track signal that is fed to the trackJs F4 chain. This is generally eCuivalent to the Dain control that you can find on some desks and mi1ers. Vo)u&e )d3usts the volume of the TrackJs <utput, after, for e1ample, any F4 and panning has been applied. This determines the level of the signal that is sent to the Pan EPre F2F Pan *u"e aster Track.
Pans more towards the left, right, or dead centre the signal that is sent to the trackJs F4 chain. Pans more towards the left, right, or dead centre the signal that is sent from the track to the aster Track. This envelope has effectively only two states A <n and <ff. ,t is used to mute passages of a track.
!GG
1> C 3E(4 REAPER Au"o&a"ion

0end Enve)ope 0end Vo)u&e :escrip"ion )d3usts the volume of the track signal that is sent to the destination track. (1actly how this is applied will in part be determined by whether the >end itself is defined as Post Fader ;Post Pan?, Post F4 or Pre F4. )d3usts the panning of the track signal that is sent to the destination track. (1actly how this is applied will in part be determined by whether the >end itself is defined as Post Fader ;Post Pan?, Post F4 or Pre F4. This envelope has effectively only two states A <n and <ff. ,t is used to mute passages on a send.
0end Pan
*u"e
1>.?
(ri"ing Au"o&a"ion
,n the i1er Control Panel or Track Control Panel, click on the Enve)opes button ;shown right? to display the list of parameters that can be automated. >elect the item you wish to automate, and make sure to also select the options Visib)e and Ar&. >et )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, ad3ust the on screen control which controls the parameter that you are automating. >top play when finished. 'ight click over the (nvelope button for that track and select Au"o&a"ion Read. Play the song. Risten and look:
To create automation envelopes using the (ri"e feature, use this method&
Au"o&a"ion (ri"e E+a&p)e

%. <pen your file A)) 1!roug! 1!e 3ig!".RPP. >ave it as A)) 1!roug! 1!e 3ig!" AU1'.RPP. Be are going to add an automation envelope to the Pou9ouki track to fade this track up a little in the passage between the first and second verses of this song. 7se your mouse to increase the height of the Pou9ouki track. This isnJt absolutely necessary, but makes it easier to see what you are doing. ,nsert the $>& 7tility*Rimiter plug5in to the master track and set its threshold to A!.". This is a precaution against clipping. Position the play cursor 3ust before the end of the first vocal passage at about the /" second mark.
!. ..
!G#

/. 2ow click on the Enve)opes#Au"o&a"ion button for the Pou9ouki Track. >elect Vo)u&e and make it both Visib)e and Ar&ed. >elect the automation mode (ri"e for this track ;see below?. E. Close the (nvelopes window. 2otice that the Tolume fader for this track is now colored red and a Tolume envelope has been created. The (nvelope button now reads (r. G. Play the song from the /" sec mark. #. )s the instrumental passage starts, use your mouse to raise the fader for the Pou9ouki Tolume by about a decibel. Qold it there, then at the end of the instrumental break lower the fader to its original position. >top play. 0. 'ight click over the (nvelope button for the Pou9ouki track and choose Au"o&a"ion *ode: Read from the conte1t menu. F. The fader for the Tolume control from this track will now be green, and your automation envelope should be clearly visible ;see below?. %". Play the song. The volume fader for your bou9ouki will automatically move up and then down in accordance with the movements that you recorded. %%. >ave this file. 3o"e: Nou do not need to select )utomation 'ead ode in order for the automation to take effect. Nou only need to do this if you wish to see the effect of the automation thru the on5screen movement of the faders during playback. NouJll find a more detailed e1planation of the various automation modes later in this chapter.
*odifying "!e Enve)ope

,tJs very likely that you wonJt get the e1act settings for your automated faders %""O correct first time. ,f this happens, you have two ways of fi1ing the problem. Nou can either use )utomation 1ouc! mode to write changes to your envelope, or ;probably easier? edit the envelope by hand.
1>.=
(ri"ing *u"e Au"o&a"ion
<ne rather special way of using automation is in con3unction with a trackJs *u"e button to automatically mute unwanted passages of a track. The procedure for doing this is outlined below& Click on the trackJs Enve)opes#Au"o&a"ion button to display the (nvelopes window. >elect the *u"e envelope and set the reCuired mode to (ri"e ;see right?. Then close the (nvelopes window. The (nvelopes*)utomation button will read (r and the ute button will be highlighted in red, to indicate that it is armed. 2otice ;right? how these items are displayed in Track . ;armed? compared to Track ! ;not armed?.
!G0

2ow play the track. )s you do so, click on the trackJs that you reCuire to be muted. ute button at the start and end of any passages
Bhen finished, stop the playback. 'ight click over the (nvelope*)utomation button and set the )utomation ode for this track to either Trim*'ead or 'ead, as you prefer.
,n the e1ample shown here, this method has been used to mute a vocal track during all the passages when it is not intended to be heard, Read mode has been selected. Bhen the track is played back, those passages selected for muting will be muted, and the appearance of the ute button changes for the duration of those passages.
1>.@
Au"o&a"ion *odes
)utomation mode can be set as already shown from the (nvelopes*)utomation window. ,n fact, there are a number of ways that this can be done& >elect the reCuired mode from the (nvelopes window. 'ight5click on the (nvelopes*)utomation button and select the reCuired mode from the conte1t menu. ,n the TCP, right click over any automation lane and select the reCuired mode from the conte1t menu. From the main menu, choose 1rac%9 0e" Au"o&a"ion *ode for 0e)ec"ed 1rac%EsF.
The following table summari9es the five available automation modes. Au"o&a"ion *ode 1ri&#Read :escrip"ion )ny e1isting envelopes are applied, but the on5screen controls do not move. Trim*'ead mode might seem strange at first, but it does bring you a useful benefit. ,n this mode, envelopes are applied but you can also use a trackJs controls in trim mode. For e1ample, ad3usting the trackJs Tolume fader in this mode will essentially raise or lower the whole Tolume automation envelope for that track. )pplies envelopes and moves controls for armed items, but does not write or remember any changes that you make to them. Brites and remembers any changes that you make to settings, and creates new points to track envelopes. Changes commence when you first ad3ust a setting, and continue to be remembered until playback stops. This is similar to Ratch, but stops making changes to envelope points when you stop ad3usting them. Brites and remembers current settings as edit points along with any changes that you make to settings for armed items as soon as playback starts. ,n this mode, previously written envelopes for armed items will be over written.
Read Ba"c!
1ouc! (ri"e
2ote that when you are in Ratch, Touch or Brite mode, an envelope can also be armed by clicking on the AR button in its automation lane ;where one e1ists?. 'emember also after using Brite, Ratch or Touch mode to change to 'ead or Trim*'ead mode, to prevent further automation from being accidentally recorded.
!GF

1>.A Reducing "!e 3u&ber of Enve)ope Poin"s
(specially when you use Brite mode to record your automation, you may find that '()P(' creates more points on the envelope than you would like. This can make editing the envelope an onerous task. There are two possible solutions to this problem. 1o ensure before you s"ar" recording "!a" fe$er poin"s $i)) be recorded: %. 'ight click over the (nvelope Putton on the toolbar and select the option to Reduce enve)ope poin" da"a $!en recording au"o&a"ion. ,f necessary, click on this button to make it active.
!.
1o reduce "!e nu&ber of poin"s on an e+is"ing enve)ope "!a" !as a)ready been recorded: %. !. .. Define the time selection which contains the envelope points. 'ight5click over the envelope. From the conte1t menu, choose Reduce 3u&ber of Enve)ope Poin"s. >elect ;probably? Poin"s in "i&e se)ec"ion on)y or ;possibly? A)) Poin"s. )d3ust the fader until the number of points shown looks about right. )n e1ample of this is shown on the right. Click on '8.
/.
E.
G.
1>.;
*anua))y Ad5us"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 e1ample, when you can see from observing the waveform that there is a peak that needs ad3usting. The actions that you will commonly use for this are& 0!if" /)ic% for adding points to an envelope. /"r) /)ic% :rag for freehand drawing of envelope points and curves. /)ic% :rag for moving envelope segments up or down.
The first of these actions is e1ecuted by holding 0!if" while clicking on the envelope, the third by simply clicking. These can be swapped in your ouse (diting Pehavior preferences settings. ,n this e1ample, we will assume that /)ic% :rag is used to ad3ust segments, and 0!if" /)ic% to add points. ,n the e1ample that follows, you will use the mouse to raise the volume of your Pou9ouki volume envelope a little for the duration of the short instrumental break that occurs between the second and third verses. This e1ample assumes that the default mouse editing behavior settings are as shown above..
E+a&p)e
%. Qover your mouse over the envelope, 3ust before the start of the second instrumental break. This will be at or near % min .G seconds. The mouse will change to a vertical black arrow.
!#"

!. .. /. Qold 0!if" while you click the mouse on the envelope to create a point. 'epeat this three times as shown ;below?, so that you have two points 3ust before the instrumental break and two points 3ust after it. 2ow 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. >ave this file. Display the (nvelope Bindow for the track 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. 2otice that the Pou9ouki volume will now be faded up for both instrumental passages in this song and down after them. >ave the file.
E. G.
#. 0.
F.
1>.1
*anaging Au"o&a"ion Enve)ope :isp)ay
'()P(' offers you a fle1ible 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 Qide all automation envelopes.
,n the e1ample shown here, a track is displaying three envelopes. A one each for Pan, Track Tolume and the volume of a >end to another track. <ne of these A Pan A is displayed on top of the actual media items. The other two each have their own lanes. The (diting Pehavior preferences option to :ra$ fain" pea%s in )anes has been enabled.
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This summary table e1plains how you use these options. 7n 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 K ,n the TCP, click on the 2 button for the envelope lane and choose <ide Enve)ope. Click on the Enve)opes#Au"o&a"ion button in the TCP and check the Visib)e bo1 for that envelope. 'ight click over the envelope and disable the 0!o$ enve)ope in )ane option, or K Click on the up arrow button in the envelope lane. *ove an enve)ope fro& over "!e &edia i"e& "o i"s o$n )ane *ove a)) visib)e enve)opes "o individua) )anes *ove a)) visib)e enve)opes "o over "!e &edia i"e&EsF 0!o$ a)) ac"ive enve)opes 'ight click over the envelope and enable the 0!o$ enve)ope in )ane option ,n the TCP, right click over any envelope lane and choose *ove a)) visib)e "rac% enve)opes "o enve)ope )anes from the menu. ,n the TCP, right click over any envelope lane and choose *ove a)) visib)e "rac% enve)opes "o &edia )ane from the menu. ,n the TCP, right click over any envelope lane and choose 0!o$ a)) ac"ive enve)opes, or K <pen the Enve)opes#Au"o&a"ion $indo$ and click on 0!o$ a)) ac"ive. <ide a)) enve)opes ,n the TCP, right click over any envelope lane and choose <ide a)) enve)opes, or K <pen the Enve)opes#Au"o&a"ion $indo$ and click on <ide a)). Bhen 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. Nou 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 e1ample shown on the right, this track could have up to eight envelopes, one for each of the items listed. Qowever, it actually contains only four active envelopes, one each for Tolume, Pan, Track E >end Tolume and Track E >end Pan. <f these, we have chosen to make only the first three visible. <f course, if we were to add some plug5ins ;such as Delay, (@ or compression? to this track we would immediately create more potential envelopes.
:isp)ay a curren")y !idden enve)ope *ove an enve)ope fro& i"s o$n )ane "o over "!e &edia i"e&EsF
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1>.11 0o&e Enve)ope Edi"ing 1ec!niTues
)n envelopeJs behavior and characteristics can be modified both from the envelope lane ;where one e1ists? and from the right click menu. ,n addition to the functions already e1plained, within the TCP in any envelope lane you can& ,n 1ri&#Read mode, use the hori9ontal fader to raise or lower the whole envelope. For e1ample, raising a pan envelope would cause panning for the entire track to be moved further to the left, whilst maintaining the relative movement between points. )s another e1ample, lowering a volume envelope would cause the volume to be lowered for the entire track, again maintaining the changes in volume brought about by individual points. 7se the ,P button to toggle bypass on and off for individual envelopes. 'ight clicking over an envelope produces an envelope menu which includes several editing commands. 'ight clicking over any point on an envelope produces a similar menu, but with additional options for editing that particular point. Qere is a summary table of your main options. /o&&and 0e" poin" va)ue E+p)ana"ion Displays the 0e" Enve)ope Poin" Va)ue dialog bo1. Can be used to changes the value, position, and*or shape of the current point.
0e" poin" s!ape
Changes the shape of the current point. The si1 available shapes are Rinear, >Cuare, >mooth, Fast >tart, Fast (nd and Pe9ier. These are e1plained in more detail shortly.
0e)ec" a)) poin"s Unse)ec" a)) poin"s 0e)ec" a)) poin"s in "i&e se)ec"ion /opy se)ec"ed enve)ope poin"s
>elects all points in current envelope. 7nselects 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. 3o"e: To apply a command to an e1isting selection of envelope points, you should hold 0!if" while you right click over the envelope. This ensures that the selected points remain selected when the conte1t menu is displayed.
/u" se)ec"ed enve)ope poin"s
Cuts all points in current selection into clipboard.
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/o&&and 0e" s!ape for a)) se)ec"ed poin"s E+p)ana"ion )llows you to choose a shape for multiple envelope points. The si1 available shapes are Rinear, >Cuare, >mooth, Fast >tart, Fast (nd and Pe9ier. These are e1plained in more detail shortly. 0e" enve)ope defau)" poin" s!ape >ets shape for future points. The si1 available shapes are Rinear, >mooth, Fast >tart, Fast (nd, >Cuare and Pe9ier. These are e1plained in more detail shortly. :e)e"e enve)ope poin" Eor A)" /)ic%F :e)e"e se)ec"ed enve)ope poin"s :e)e"e enve)ope poin"s in "i&e se)ec"ion 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. >hown here is a selection of points before and after using this command.
7nver" se)ec"ed poin"s
Causes all selected points to be inverted relative to their neutral position. For e1ample, a point on a Pan envelope set at E"O left would be changed to E"O right. Bith items such as Tolume which use a logarithmic scale, the calculation is less obvious. >ets all selected points back to a neutral position. >hown 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 enve)ope poin"s .
)llows you to reduce the number of envelope points within a time selection or for the whole envelope. This has already been e1plained in detail. Toggles armed status of envelope on and off. ) toggle command which moves the envelope into or out from its own envelope lane. Qides the envelope but keeps it active. Toggles an envelopeJs bypass status. Clears all points on an envelope, restores it to a straight hori9ontal line. Nou will be asked if you wish also to remove the envelope.
Ar& enve)ope for recording 0!o$ enve)ope in )ane <ide enve)ope ,ypass enve)ope /)ear or re&ove enve)ope
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G)oba) Au"o&a"ion 'verride
The Dlobal )utomation <verride button on the transport bar can be used to set certain options for your envelopes globally. 'ight click on this button to display the menu shown on the right. This can be used for two main purposes. These are& To toggle bypass on and off for all envelopes. To select a single automation mode ;such as Trim*'ead or 'ead? for all tracks.
These global options can be removed by returning to this menu and choosing the 3o g)oba) override command. Bhen you do this, tracks will be returned to their former state, with their previous individual automation mode and bypass settings restored.
*ouse 1ric%s $i"! Enve)opes

There are a number of techniCues and mouse tricks that can be used when you are manipulating and managing envelopes and their nodes. *e"!od /"r) :rag any$!ere on9 above or be)o$ "!e enve)ope A)" /)ic% on any enve)ope poin" <o)d /"r) $!i)e c)ic%ing on enve)ope poin"s one a" a "i&e /)ic% on any poin" in an enve)ope9 "!en press /"r) A /)ic% on a poin"9 "!en use "!e Rig!"C/)ic%C :rag &ouse &e"!od "o )asso a por"ion of an enve)ope. Re)ease &ouse. (!en you !ave severa) poin"s se)ec"ed9 rig!" c)ic% over any se)ec"ed poin" /)ic% and drag any enve)ope poin" in any direc"ion /"r) A)" :rag on any enve)ope poin" /)ic% and !o)d &ouse on any enve)ope poin"9 !o)d bo"! "!e /"r) and 0!if" %eys $!i)e "!en dragging any enve)ope poin" ei"!er ver"ica))y or !ori-on"a))y. :escrip"ion Draws and shapes envelope in freehand mode. Deletes envelope point. >elects multiple envelope points. >elects all points in that envelope. >elect all points within the lasso area.
Displays menu and keeps selection. Nou can apply a command such as Delete >elected (nvelope Points to the entire selection. oves the envelope point vertically and*or hori9ontally at the same time. Fine ad3ustment of that point8s position. )llows the envelope point to be moved vertically or hori9ontally only.
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1>.12 3E(4 Enve)ope Appearance Preferences
The Appearances page of your 'p"ions9 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 these options& >olid edge on time selection highlight >how guide lines when editing Draw faint peaks in automation lanes Filled automation envelopes
The two screen shots above show the effects of working with all these options off ;left? and on ;right?. 2otice that in the second screen shot you can see faint media peaks behind the envelope, solid edges on the time selection, and the area below the envelope ;in the automation lane? is shaded. The effect of the other option ;>how guide lines when editing? will be apparent in the ne1t paragraph.
1>.13 3E(4 /opying Enve)opes $i"! 7"e&s

Nou can choose whether or not to copy automation envelopes with your media items when they are copied. ,t depends on whether you have set the option to *ove enve)ope poin"s $i"! &edia i"e&s on or off. This option is accessed by right clicking on the (nvelope tool on the main '()P(' toolbar. Nou can also 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 copied with the media items. ,f this option is turned on, then the envelopes will be copied with the media items.
)n e1ample of this is illustrated on the right. ) selected portion of the media item on the top track ;To1 Qarmy %5"".ogg? is being copied to the track below it using the /"r) drag and drop method. 2otice that not only is the envelope copied with it, but also there are guide lines displayed which can help you when positioning the item that you are copying.
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1>.1> Au"o&a"ion (i"! Grouped 1rac% 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 wish? when automation envelopes are being written. This is done using the group Au"o&a"ion *ode column on the Track Drouping atri1. )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. Ret8s look at some e1amples. ,n each case, the same pro3ect file, A)) 1!roug! 1!e 3ig!" 1GR'UP0.RPP, is used as was used when we e1amined track grouping. ,f you completed those e1amples it might help you to open that file now.
E+a&p)e 1
,n this first e1ample, both tracks . and / are set to act as both master and slave in automation mode and both volume envelopes are armed. Nou can set either track to write, touch or ;as in this e1ample? 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 below.
E+a&p)e 2
,n this second e1ample, the Tolume envelope on track . is armed, but the envelope on track / is not. Therefore, when we record our automation, it is written to track . only, despite the fact that the two items are grouped.
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1>.1? Au"o&a"ion $i"! 1rac% 0ends
)utomation can be applied to other controls beside Tolume and Pan, such as >ends and F4 parameters. ,n this e1ample, we will create a >end, then use an envelope to control it.
E+a&p)e
%. First, we are going to create an F4 Pus Track, then we will use an envelope to vary the level sent to that F4 Pus Track from each of the guitar tracks. Create a new track and name it F2 ,us. Display the F4 Chain for this track, and add the F4 $> Duitar*chorus. Close the F4 window. >elect the track G"r ,ody and display the 7#' routing for this track. >pecify the Duitar F4 Pus as a send and set >end Tolume and Pan levels as shown ;right?. >elect the track G"r 3ec% and display the 7#' routing for this track. >pecify the Duitar F4 Pus as a send and set >end Tolume to A%"dP and Pan to GEO 'ight. 2ow display the (nvelopes window for the G"r ,ody Track. >et the mode to Trim*'ead. 2otice that envelopes are available for your sends. ake sure that F2 ,us 0end Vo)u&e is selected and visible. Close this window. )n envelope lane for this send should now be visible on the G"r ,ody track. Qover the mouse over any part of the envelope, click and drag down until the envelope is set to about AEdP. Be are now going to increase the chorus effect, starting 3ust before the second verse. )dd a point at about the G" second mark.
!.
..
/.
E.
G.
#.
0. F.
%". Qover the mouse over the envelope 3ust after this last point. Click hold and drag up until the envelope is set to about A"dP. 'elease the mouse. This is shown below.
%%. >et 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 ." secs, hold down 0!if", then click, hold and drag the envelope back down a little. %!. 2ow repeat steps E to %" for the track G"r 3ec%. %.. DonJt forget to save the file.
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1>.1= Au"o&a"ion $i"! 7"e&s and 1a%es
,ndividual media items and takes can be assigned their own Tolume, Pan and ute envelopes. To do this, select and right click over the item then choose the 1a%e command followed by whichever item you want. ,n the e1ample shown below, a Tolume envelope is being added to the first media item on Track ..
2otice in this e1ample that the track itself already has a pan envelope. There is no problem with using track envelopes and take envelopes on the same track.
Enve)opes $i"! *edia 7"e&s

,n the e1ample shown on the right, the volume envelope has been added to our media item, using the 1a%e9 1a%e vo)u&e enve)ope command ;above?. The envelope can be edited with points added, moved, edited and so on 3ust like any other. Nou can also create different envelopes for different takes of the same passage of the song.
Enve)opes $i"! *u)"ip)e 1a%es

,n the e1ample shown below, separate Pan envelopes have been added to the both takes for the last verse of the song. The combination of the different panning and the touch of 'eaDelay added to the takes can make for an interesting vocal effect when the P)ay a)) "a%es option is enabled for this item. ) volume envelope has also been added to the track to compensate for the e1tra volume generated by playing both takes.
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1>.1@ Au"o&a"ion $i"! <ard$are 'u"pu" 0ends
,f you are using hardware output sends with any of your tracks, you will find that you can automate the Tolume, Pan and ute parameters for these tracks. These items will appear in the trackJs (nvelopes window as shown on the right. ,n the e1ample shown, we have already created a send from Track % to an )udio Qardware <utput. Be can now create an envelope to control the volume of this send. Qowever, we can go one better than this. >uppose that we wish to use fader movements to shape this envelope, but without using Brite mode for any other envelopes that we may also have created. This can be done from within the TrackJs ,*< ;'outing? Bindow. Take a look at the screen shot below. Nou can see that the )utomation mode has been set to Brite from within the 'outing Bindow, 3ust for that one envelope.
Nou could now play your track, ad3usting the audio hardware output send fader in the window shown above to ad3ust the send volume level and create your envelope. Nou can, of course, also do this with Track >end envelopes ;see previous section?. 1ip: Nou can customi9e the colors used for your envelope by opening the <ptions, Preferences dialog bo1 and going to the Appearance9 1!e&e settings page. Qow to do this is e1plained in more detail in Chapter %F.
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1>.1A Enve)ope 0!apes
(nvelopes can be any of five shapes A Binear, 0Tuare, 0)o$ 0"ar"#End, Fas" 0"ar", Fas" End or ,e-ier. To change the shape of an e1isting curve, right click over the envelope point, then choose 0e" Poin" 0!ape, then the reCuired shape from the menu. The table below illustrates the different shapes&
Rinear
>Cuare
>low >tart*(nd
Fast >tart
Fast (nd
Pe9ier
>hapes other than >Cuare are usually best used for graduated parameters, such as volume and pan. >Cuare envelopes are best used for items with on*off parameters ;such as bypass or mute?, to ensure an e1act transition at the reCuired point. Nou can specify your preferred default envelope point shape type from the 'p"ions9 Preferences9 Pro5ec"9 :efau)"s window, as shown on the right.
1>.1; Using Enve)opes $i"! F2 Para&e"ers

Nou can create automation envelopes for any parameters for almost any $>, T>T, T>Ti, D4 or D4i plug5in that has been added to any trackJs F4 chain. For e1ample, you can use automation envelopes to vary the level of compression applied to a drum track here, or to add more warmth to a vocal take at those times when it is needed. There are two main ways of creating envelopes for your F4 parameters& >elect those parameters for which you wish to add envelopes from the (nvelopes window ;see right?. Nou may need to click on the small R button ne1t to a plug5ins name to display a list of all automatable parameters for that plug5in. 'ight click over background area of any e1isting envelope lane in the TCP and select the reCuired item from the F4 parameters window. )ll automatable parameters for all plug5 ins in the trackJs F4 chain will automatically be added to the menu ;see below?.
ost F4 can be automated in this way, but be warned that with some very old plug5ins this might not be possible. ,n these cases, the development of the F4 predates automation techniCues.
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E+a&p)e
%. !. .. /. <pen the F2 /!ain window for the track Vo+. )dd the J0 B'0ER#>,andES to this chain. >et the first FreCuency level to %0" ;as shown?. >olo the To1 track and play the song. )s you do so, hold down the )lt key as you slowly and gently increase the Row volume level ;the top fader?. 2otice how the sound changes and becomes warmer. 'elease the mouse, and the level will snap back to ".". Be are going to add an automation envelope to increase this level for the phrase )ll Thru The 2ight at the end of the first vocal passage. This will warm up that phrase, but also make it louder. Therefore, we will need to add another envelope to lower volume to compensate. )d3ust the hori9ontal and vertical 9ooms of the To1 track, so that you can clearly see the area that you are working with. Display the Enve)opes window for the To1 track. 2otice that envelopes are now available, if reCuired, for any of our (@ parameters. ake sure that the first item A Bo$ EdbF A is selected and set to visible and armed. Close the window, and the envelope should be visible on your track. >tarting around the % min .. sec mark, add points as shown below, then raise the level between points ! and . to about UE or UG dP.
E.
G. #. 0. F.
!0!
%". Display the Enve)opes window again for the Vo+ track. ake sure that Vo)u&e is selected, visible and armed. >et )utomation ode to Read. Close this window. %%. )dd points to the Tolume envelope as shown below.
%!. 2ow play the song with the To1 track set to >olo. ,f necessary, raise or lower the level of the volume envelope for that passage shown until it sounds about right. %.. 2ow unsolo the track and play the song again. Nou might need to make some further minor ad3ustments to your envelopes. %/. 2otice that if automation mode is set to 'ead, when you playback that the faders for To1 Tolume in your Track Control Panel, and for Row in its F4 Pin ;$> R<>('*/Pand(@? will automatically move up and down. 1ip& The keyboard shortcuts V and P can be used as toggles to show and hide the Tolume and Pan envelopes.
1>.2
/rea"ing Enve)opes fro& "!e F2 Para&e"er (indo$
Nou can also create envelopes for any F4 parameters directly from within the plug5inJs own window by clicking on the parameter then the Para& button, then 0!o$ "rac% enve)ope ;see also Chapter F?. oreover, if you are using '()P(' with a correctly installed control surface, such as a Pehringer PC'!""", you can create envelopes on the fly to automate F4 parameters for any track in Brite, Ratch or Touch mode. Nou can use any of the deviceJs rotaries, faders or buttons ;as appropriate? to automate your F4 parameters. The e1act steps will depend on which device you are using, but in overview& %. !. Bithin the plug5in window, click on the parameter, then on Para& then on Bearn. Bhen the *7:7 Bearn dialog bo1 is shown, tweak the control on the e1ternal device, select the option Ar& enve)ope for se)ec"ed para&e"er and click on '8.
Nou can now use the control device to write your parameter changes to the envelope during playback. Nou can also select F2 Para&e"er Bis" from the above menu and then 0!o$ 1rac% Enve)opes to add envelopes for other parameters for this plug5in.
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1>.21 Au"o&a"ion and Enve)ope :efau)"s
Pefore e1ploring any more of '()P('Js automation features, itJs worth taking note of where your other default )utomation settings are stored. They are in the Preferences window, on the Pro5ec" :efau)"s page, shown on the right. The main options are e1plained in the table below.
'p"ion Enve)opes enab)ed by defau)"
:escrip"ion (nvelopes for Tolume, Pan, Tolume ;pre F4? and Pan ;pre F4? can automatically be created for new tracks if you wish. ,f you tick any items here and then click App)y, the specified envelopes will be automatically created, enabled and displayed for each new track that you subseCuently create.
:efau)" enve)ope poin"
This option enables you to specify your preferred default shape for each new envelope point subseCuently created.
:efau)" au"o&a"ion *ode
This option sets the default automation mode that will be applied for all new tracks subseCuently created. The available modes are Trim*'ead, 'ead, Touch, Brite and Ratch. These are all e1plained in detail earlier in this chapter.
Ar& ne$ enve)opes
This option determines whether or not new envelopes are armed by default.
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1>.22 Au"o&a"ing F2 Para&e"ers on "!e F)y
,f you turn on the (diting Pehavior (nvelopes preferences option to Au"o&a"ica))y add and ar& enve)opes $!en para&e"ers are "$ea%ed in $ri"e &ode, then '()P(' will automatically create automation envelopes for you as you tweak the parameter settings during playback. This will of course apply to any changes made on the screen with your mouse as it will to any changes made using faders, rotaries or buttons on an e1ternal control surface. Pe careful how you use this, or you could end up creating a whole heap of unwanted envelopes: 3o"e: ,t is important when you finish recording your automation envelopes in this way that you change )utomation mode from Brite, otherwise every parameter you tweak will create and*or modify an envelope, whether you want it to or not.
1>.23 *oving Enve)ope Poin"s (i"! *edia 7"e&s

The (nvelope button on the '()P(' toolbar is used to determine whether or not you wish envelope points to be moved when you move media items. This button toggles its status on and off. The series of three illustrations below demonstrate the result of moving a media item, first with this option turned off and secondly with it turned on. Bhen turned on, any of the four options attached to this tool that you have clicked will be enabled. Be have already mentioned the option Reduce enve)ope poin" da"a $!en recording au"o&a"ion. The other options are as follows& *ove enve)ope poin"s $i"! &edia i"e&s. (nable this if you want envelope points to be moved with media items when they are moved. Disable it if you want the points to remain in their original position along the trackJs timeline when the media item is moved. The options to Add enve)ope poin"s $!en &oving i"e&s and Add enve)ope poin"s $!en ripp)e edi"ing#inser"ing items can be used to prevent une1pected changes being made to your envelope curves as can sometimes occur when you move media items under certain circumstances. The underlying principle for both these options is the same. ,n essence, enabling these options will help preserve the original effect of your envelopes when items are moved or when ripple editing occurs. ,f in doubt, you should leave both these options enabled.
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1>.2> Au"o&a"ing Au"o&a"ion
DonJt forget that '()P('Js Ac"ion Bis" capabilities really do put a lot of power and control at your fingertips. For e1ample, if thereJs an automation task or seCuence of tasks that you use freCuently, you can allocate a keyboard shortcut to that seCuence. For e1ample, suppose that you often need for the current track to display and select, ready for automation, a volume envelope, and then select Brite automation mode for that track. Nou could use the Ac"ions9 0!o$ ac"ion )is". command to open the )ctions window and create a key5binding similar to that shown. Bith one keystroke this custom action would display the volume envelope for a selected track and automatically set the track to Brite mode.
1>.2? Au"o&a"ing "!e *e"rono&e

Nou can automate the etronome behavior A for e1ample, to get it to play only at the e1act times that you reCuire. To do this, simply create a new track and use the command 7nser"9 /)ic% 0ource to insert a media item into your file. Nou can then treat this click track like any other track A for e1ample, add a Tolume envelope, a mite envelope to mute certain passages, and so on. )n e1ample is shown here. To modify any of the click track properties, right click over the track and choose 0ource Proper"ies from the menu ;see illustration, right?. For e1ample, you can change the PP setting, or use your own sample files to create the beats.
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1>.2= Using "!e 1e&po *ap and P)ay 0peed Enve)opes

,n Chapter %", you learnt how to change the Time >ignature within a pro3ect. )nother ;and perhaps more intuitive? way of doing this is to use the Tempo ap (nvelope. To display the Tempo ap (nvelope in the main '()P(' window& %. !. ake sure that the aster is displayed A /"r) A)" * toggles this on and off. Click on the (nvelopes button in the Track aster. This displays the (nvelopes window for the aster. 2ow tick the item 1e&po *ap and make it Visib)e. >et the )utomation mode for the aster Track to Read. Close this window.
..
Bhen you make the Tempo ap visible, an envelope is displayed on the aster Track. This envelope can be modified in the same way as any other A you can add points, move them. delete them, ad3ust them, etc. Time signature markers are also inserted on the timeline 5 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 versa?.
>imilarly, you can also add to the aster a Play 'ate envelope, which can be used to automatically speed up or slow down the playback of your pro3ect. 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 2ow tick the item P)ay 0peed. ake sure this item is marked as both Tisible and )rmed. Close this window. aster.
2otice that you can also apply standard Tolume and Pan envelopes ;post or pre F4? to the as automation envelopes for any F4 parameters.
aster Track, as well
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1>.2@ Boc%ing Enve)opes
Bhen 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 0!if" B will cause the Boc% 0e""ings window to be displayed ;see right?. Nou should then select the Enve)opes option, along with any other aspects that you also reCuire to be locked. 2ote that even with the Enve)opes option selected, locking will only be applied if you also select the Enab)e )oc%ing option.
!00
1? C E+por"ing Fi)es9 *i+ing :o$n and Rendering 1? E+por"ing Fi)es9 *i+ing :o$n and Rendering
1?.1 3E(4 ,a"c! Fi)e /onversion
Nou might have a number of recorded tracks whose contents you need to convert to another format, for e1ample from .B)T format to . P.. These can all be handled in one pass, using '()P('8s batch file converter.To access the file converter, first choose the Fi)e9 ,a"c! Fi)e /onver" command from the main menu. This causes the dialog bo1 shown here to be displayed.
Then follow this seCuence& To specify the files that you wish to have converted, click on the Add... button, use the browser to make your selection, then click on 'pen. 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 /)ear button. To convert the files, after making your selection on the /onver" button. This opens the Fi)e /onversion window ;see above?. >elect your reCuired output format ;e.g. P., <DD, FR)C? 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 F2 . ,f you select this option, you should also click on the 0!o$... button to specify your reCuired effect;s? A for e1ample, perhaps a limiter. <ptionally you may also specify the number of channels, sample rate and resample mode to be used. >pecify your reCuired output ;destination? folder and click on 0"ar" /onver" to implement the file conversions. Close the File Converter window when finished.
!0F

1?.2 /onso)ida"ing and E+por"ing
Nou might be collaborating on a pro3ect with someone else, or with other people. Perhaps, for e1ample, you want to send your pro3ect to a friend who will add some vocal harmonies to your song. Bhat if that friend lives a long way away+ Nou could send her your .'PP file together with all the media item files, and she could do it there. Put what if she doesnJt use '()P('+ Perhaps she uses a different software program, or perhaps she doesnJt have a D)B herself and will need to use a commercial studio for this purpose. ,n this case, it should first be consolidated and e1ported. Take a look at this e1ample here& ,n the e1ample shown here, the To1 track is made up of three separate items, each covering only part of the total song. ,f we were to hand over a copy of these media files ;si1 in all? to someone else, then even with a simple recording pro3ect like this, it would be Cuite a 3ob for that person to line everything up. ThatJs where consolidate and e1port comes to our rescue. ,t creates new audio files, one per track, based on the items in the pro3ect, the files they refer to, and their position in the pro3ect. <nce these new files are inserted in another D)B, each starting at 9ero time, one per track, then everything will be in the right place for further mi1ing. %. From the main menu, choose Fi)e9 /onso)ida"e#E+por" 1rac%s. Choose either the En"ire Pro5ec" or a /us"o& loop selection, then A)) or 0e)ec"ed 1rac%s. Decide if you want to Force 'u"pu" For&a" to a single standard ;as shown here? or maintain all currentr media item formats. >elect a Resa&p)e *ode. >pecify reCuired format A B)T, ),FF, FR)C, P., <DD Torbis, onkeyJs )udio or BavPack. ,n the e1ample shown, ),FF has been selected. >elect your reCuired specifications for your chosen format. For e1ample, for ),FF files you need to select a bit depth, for P. a mode and Cuality. ,f in doubt, speak to the person who will be doing the work.
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1? C E+por"ing Fi)es9 *i+ing :o$n and Rendering

#. 0. >pecify your <utput directory ;where the files will be written to?. >pecify whether you wish to update the pro3ect with the newly consolidated files. >pecify a name for the new pro3ect file ;or accept the default?.
Pelow is shown how the pro3ect file looks after consolidation, with one media item per track. To make this more obvious, the preferences option to :isp)ay pea%s for &edia i"e&s has been disabled.
,t would clearly be an easy task for an audio engineer to import these four media items into any D)B program, then overdub the vocal harmonies. 3o"e: To consolidate in P. format you will need to have a copy of the free Rame encoder file )a&e6enc.d)) placed in your /:HProgra& Fi)esHREAPER folder. ,t will take you only a few moments to use Doogle to find a suitable download location.
1?.3
Rendering A Pro5ec"
RetJs say youJve reached the point where youJve finished your recording, completed your edits, added all your F4 and automation, arranged all your tracks K. and now youJre ready to mi1 down your work to produce an end product. 7sually that end product will be a stereo file. ,f itJs going on to an audio CD, this will be a %G bit stereo wave file. ,f itJs going on to the web, it will most likely be a stereo P. file. Put whatever format youJre using, your pro3ect will ultimately need to be rendered down to one file. To do this, we use the Fi)e9 Render command. The dialog bo1 shown on the right shows your various options. Nour choices will depend on the ultimate destination of your material. >ome e1amples are listed on the following page.
!F%

Pro5ec" Rendering E+a&p)es
'u"pu" :es"ina"ion :V: Audio 0ound"rac% /: Audio (eb 0i"e # (eb Audio 0pecifica"ion >ample 'ate /0""" QS, >tereo, Qigher @uality B)T format, !/ bit >ample 'ate //%"" QS, >tereo, Qigher @uality B)T format, %G bit >ample 'ate //%"" QS, >tereo, Qigher @uality P. format <ther options may vary as you trade off files si9e and download time against audio Cuality, but a typical selection might be& CP' ;Constant Pit 'ate? FG or %!0, $oint >tereo, @uality Qigh *on%eyIs Audio App)e *ac Audio /: 7&age E/ue#,inF for&a" 7se this format for lossless compression at %G or !/ bit, sample rate as preferred. ),FF Format. Consult the engineer who will be working with the file for advice on preferred settings. >pecifications as for CD )udio. This option can be used to burn your rendered output directly to CD, or to create an image file on your hard drive for use with other CD burning software. Nou can specify how markers or regions should be used to define tracks. This includes the option only to use markers whose name begins with 6Z6, in which case these become track markers. Further information about how to do this can be found later in this chapter. . *u)"ic!anne) 1rac%s Be8ll look at channel splitting and creating multichannel tracks in detail elsewhere in this 7ser Duide, and especially in Chapter %0. Nou might have such tracks that you wish to e1port in multichannel format, perhaps for use with another program. First select the tracks in the track control panel, then open the Render "o fi)e dialog bo1 and include the following options& Channels 5 >elect the number of channels, e.g. / >elect Render s"e&s Ese)ec"ed "rac%sF "o si&i)ar)y na&ed fi)es. >elect Render &u)"ic!anne) "rac%s "o &u)"ic!anne) fi)es. <ptionally, Add i"e&s "o ne$ "rac%s in pro5ec" $!en finis!ed.
>hown here ;right? is a four channel track ;Track %? rendered in multichannel format ;Track !?.
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1?.> Rendering a Finis!ed 0ong
)s indicated in the above table, when rendering a finished song you will be likely to make different output format choices depending upon whether your final destination is and audio CD or the web. Qowever, there are a few tips that you may wish to keep in mind which are eCually applicable to both. Tery often your recording will have a few seconds of silence before the song starts. 7sually you will not wish to include this period of silence with your rendered material. Pefore you render your pro3ect, you should follow these steps& %. !. .. Position the play cursor at the point where you actually wish the rendering to commence. Press 0!if" * to create a marker at this point. 2ame this marker 0"ar". Position the play cursor at the point where you wish the rendering to stop. Press 0!if" * to create a marker at this point. 2ame this marker End. Bith loop points linked to time selection, double click 3ust above the timeline anywhere between the two markers. This selects the entire area between them.
/. E. G.
From the '()P(' menu, choose the Fi)e9 Render command. >elect the reCuired output format and other options as reCuired, but be sure to include the option Render "i&e se)ec"ion ;as shown on the right?. Bhen you are ready, click the Render button in this dialog bo1 to create your rendered file.
:i"!er and 3oise 0!aping Depending on your chosen output format, '()P(' may also make available either or both the options to enable :i"!er and 3oise 0!aping ;as shown right?. These are mathematically fairly comple1 issues, but in laymanJs terms, these options can be used to ensure a smoother transition when you are mi1ing down from a higher bit rate to a lower one. This would be the case, for e1ample, when you have recorded in !/ bit and are rendering down to %G bit. ,f you8re unsure how to use these, a safer choice would be to enable noise shaping but not dithering. For further information about dithering and noise shaping, you can consult Bikipedia. 2ote too that you should not enable dither or noise shaping in the Render "o file settings if your aster Chain already includes a dithering plug5in such as ichael DruhnJs T>T Dither.
!F.

1?.? 3E(4 ,a"c! Rendering
,t8s possible that you might have a whole collection of songs ;perhaps to go together on a CD?, and that you may wish to render all of the songs together when the pro3ect is finished. The procedure is as follows.
For Eac! Pro5ec" "o be Rendered:

%. <pen the pro3ect and choose the Fi)e9 Render command. Choose your various settings and options, as e1plained in the previous sections. Nou will probably want to select the same folder ;directory? for all of the pro3ects that will be included in the batch to be rendered. Do not click the 'ender button. ,nstead, click the Sueue Render button ;see right?. The dialog bo1 will be closed, and nothing will appear to happen. >ave and close the file.
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1o Render "!e Sueued ,a"c! of Pro5ec"s:

Bhen you render the files in the Cueue, 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)e9 0!o$ Render Sueue command. This causes the dialog bo1 shown on the right to be opened. )ll files in the render Cueue ;in this e1ample four? will be listed. ,f you need to remove any item from the list, select it and click on Re&ove 0e)ec"ed.
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(ither use /"r) /)ic% to build up a subset of items to be rendered and click on Render 0e)ec"ed or simply click on Render A)) to render all items in the Cueue, each of course to a separate file. The Rendering "o Fi)e bo1 will be shown as each file is rendered and removed from the Cueue.
/)ose the @ueued 'enders dialog bo1 when finished.
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1?.=
,urning an Audio /: $i"! REAPER
There are, for the most part, two circumstances in which you might wish to burn your material direct to an audio CD. %. !. Nou have recorded a number of songs. (ach has been mi1ed and rendered to its own stereo wave file. Nou now wish to burn all of these to audio CD, with one track for each song. Nou have perhaps a live recording comprising one continuous track. Nou wish to split it up into individual tracks, and then burn to audio CDs.
,n both cases, the procedure is similar. There are 3ust some slight differences in how you set the pro3ect up at the beginning.
Preparing "o burn a /: fro& severa) &i+ed fi)es

%. !. .. >tart '()P(' and create a new pro3ect file. Press /"r) A)" 2 to display the *edia E+p)orer9 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 pro3ect, lined up on separate tracks. 2otice 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. Nou will later be able to tell '()P(' to do this automatically for you. Nou will now need to insert a marker to indicate where each track is to start. To do this K First, make sure that >napping is disabled. Place the cursor at the beginning of your pro3ect. Press 0!if" * to create and edit a marker at this point. ake sure the marker name begins with a Z ;as shown on the right?. 2ow move the cursor to the start of the ne1t 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&
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0. F.
>ave the Pro3ect File. 2ow follow the instructions below for ,urning "!e /:.
!FE

Preparing "o burn a /: fro& one con"inuous recording %. !. .. ,f the recording was made in '()P(', open the pro3ect file. <therwise, create a new pro3ect file and use edia (1plorer to import the recording, using the method e1plained before. ,t is not necessary to split up the media item. '()P(' will take care of this when it burns the CD. Qowever, you will need to indicate where you want each track on the CD to start. First, make sure that >napping is disabled. Place the cursor at the very beginning of your pro3ect. Press 0!if" * to create and edit a marker at this point. ake sure the marker name begins with a Z ;as shown on the right?. 2ow move the cursor to the start of the ne1t 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&
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>ave the Pro3ect File. 2ow follow the instructions below for ,urning "!e /:.
,urning "!e /:
%. Choose the Fi)e9 Render command. Nou should now select the necessary options and settings for burning your CD& 0a&p)e ra"e& //%"" 0"ereo Render en"ire pro5ec" Render *as"er *i+ 'u"pu" for&a"& )udio CD ,mage ;C7(*P,2 Format? *ar%ers define ne$ "rac%s ,urn /: 7&age af"er render 'n)y use &ar%ers s"ar"ing $i"! Z. ,f you do not have any dithering plug5ins in your aster F4 Chain, consider also enabling the :i"!er and 3oise 0!ape options. !. ,n the case of the first of our two e1amples ;separate media items? you will probably also want to specify a Bead in si)ence for "rac%s of !""" ms.
!FG

.. /. ,n the case of our second e1ample ;continuous live performance, you will probably wish to leave this setting at ". Click the Render button and wait for the output file to be rendered. This might take a few minutes. Bhen rendering has been completed, the ,urn Audio /: 7&age settings screen will be displayed. >elect 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. >elect E5ec" /: $!en done. Decide also whether or not you wish to keep or delete the CD image files when done. ,nsert a blank CD into your CD drive and wait for it to load. Click ,urn.
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0. F.
%". Bait while the ,urning in progress message is displayed. %%. Bhen finished, the CD will be e3ected. Click on /)ose to close any messages still displayed on the screen. 1ip: Pefore rendering direct to audio CD you should ensure that the media items that you are burning are in %G bit //%"" Q9 .B)T 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 Pro5ec" 0e""ings as your *edia for&a" for app)y F29 g)ue9 open9 copy9 e"c. Bithin the pro3ect you can then glue any e1isting media item;s?, while any media items you then import will be automatically converted to this format.
1?.@
0aving Bive 'u"pu" "o :is%
Finally ;for this chapter?, you have the option to e1port your live output to disk, using the Fi)e9 E+por" Bive 'u"pu" "o :is% command. This is similar to Fi)e9 Render, e1cept that whereas the 'ender command works off line, (1port Rive to Disk works in real time. This means, for e1ample, that you can actually make ad3ustments on the fly to your settings while your pro3ect is being mi1ed down. This has other uses too, such as recording continuously a log of the sessions to a compact file format such as P., 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. Qowever, if you do set it to run non5stop, remember to stop the recording when you no longer need it, to avoid creating an unnecessarily large file.
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1= C REAPER P)ugCins in Ac"ion 1= REAPER P)ugCins in Ac"ion

1=.1 (!a" Are P)ugCinsY
ThereJs a wonderful assortment of plug5ins supplied with '()P(' 5 nearly !"" of them: These include the $esusonic and the T>T 'ea plug5ins from Cockos. ,n this section we will be introducing you to a selection of these. Be will only be covering the very basics, 3ust to give you a feel for what plug5ins are and how they work. Peyond this, you can e1plore for yourself. Plug5ins are pieces of software that are used to control and shape the sound generated when you play back the media items in your tracks. >ome simple e1amples of when and why you might want to use a plug5in are& To make a vocal recording sound nicer, more lifelike. Perhaps your dry recording sounds a bit thin, even verging on the feeble in places. Plug5ins can add body, warmth and sparkle to such a track, not by working magic, but by finding where those Cualities are buried in the recording and bringing them out. To smooth off peaks and dips in the volume of a track, making the overall track sound more even. To add a LliveM feel to a track or even a whole mi1, making it sound more as if it were recorded in a church or a hall, rather than in a boring old studio.
1=.2
%. !.
1!e 1!ree Ba$s of P)ugCins

,t is better not to use a plug5in at all than to use it badly. ) badly used plug5in is likely to make your mi1 sound worse, not better. ,f in doubt, underdo the use of plug5ins, donJt overdo them. 2ever 3udge the Cuality of a plug5in by how much you like its presets alone. Presets 3ust reflect someone elseJs idea of how something ought to sound, not the Cuality of the plug5in, nor its potential. Think of it this way A would you decide that >ubaru cars were no good 3ust because the sales guy showed you a red one and you donJt like the color red+ 2o, of course you wouldnJt. )t least, , hope not. Nou canJt 3udge the Cuality of a plug5in by its cost. 2o, really you canJt. >ome plug5ins are free. >ome cost literally thousands of dollars. >ome free ones are pretty awful, some are great. >ome plug5ins costing hundreds of dollars are, to be polite, very, very ordinary. <thers are e1cellent.
Pefore you start using plug5ins, study and memorise this mantra. There are no e1ceptions to these laws:
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1=.3
1!e Five 1ypes of P)ugCin
(specially when you are new to using digital audio, the first feeling that youJre likely to encounter when you start to e1plore the world of plug5ins is one of being overwhelmed, if not utterly confused. Bhy+ Pecause there is so much choice. Qeaven help me, have , really got to understand all that lot to be able to use this recording caper+ 2o, you donJt. Pecause in essence there are essentially five types of plug5in ;well, thereJs a ma3or e1ception to that, which ,Jll get to shortly?. These five types are& 0ound 0!aping& these plug5ins affect the freCuency ;pitch? of your track;s?. )n e1ample is (@. 1i&eC,ased Effec"s& these plug5ins manipulate how your track;s? interact with time. (1amples include Delay, Chorus and 'everb. Vo)u&e /!anging& these are plug5ins that determine the overall volume or perceived volume of your track;s?. (1amples are Compressors and Rimiters. U"i)i"y P)ugCins& these do not shape the sound of your tracks as such, but are used for tasks as routing. Ana)y"ica) P)ugCins& these display information, but don8t in any way alter the sound of the track.
!FF

)nd that e1ception+ Bell, some plug5ins can cut across more than one of these categories at the same time, performing more than one 3ob. <ne e1ample of this is a ultiband Compressor, which displays the characteristics of both an (@ and a Compressor.
1=.>
0ound 0!aping Effec"s: ES
ost sound shaping plug5ins fall ;in one way or another? into the (@ category. (@ means LeCualisation.M This is rather strange, since they are used to emphasise ;or de5emphasise? selected freCuencies. Perhaps they should be called L7n(@M: ) number of $> (@ plug5ins are supplied with '()P(', along with 'ea(@ from Cockos. The best way to understand how these plug5ins work is to e1amine an e1ample. %. !. <pen the supplied pro3ect file A)) 1!roug! 1!e 3ig!".RPP and save it as A)) 1!roug! 1!e 3ig!" ES.RPP Be will be working in this e1ample only on the vocal track. The human voice is an e1cellent instrument for demonstrating the effects of (@. 0o)o the Vo+ track. Display the F2 $indo$, click on Add and add J0 Boser 3 ,and ES ;right?. Play the song. )s you do so, fade the <ig! fader towards the left, all the way, slowly. 2otice how the voice becomes deeper. Double click on the fader to return it to the centre. >lide the Bo$ fader all the way to the left. 2ow slowly move the Bo$ *id FreTuency fader all the way to the left, then all the way to the right. 2otice the effect it has on how the voice sounds. >top the song. 'eturn all faders to their original positions ;see above?.
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Bhat has been happening is that you have been cutting different freCuencies out of the song at different times. RetJs look at this more closely. (1actly how you divide up the freCuency spectrum is to some e1tent arbitrary. QereJs one way that would make sense to most sound engineers& 1= "o = <= "o 2? <2? "o 2 2 "o > <<Very Bo$ ,ass. These freCuencies are felt rather than heard. ,ass. Qerein 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. 1!e *id Range. Too much gain here makes it sound like youJve recorded from the other end of a telephone. ,f a take sounds muddy, try cutting it here. Upper *id Range. <ften a problem area. Poost here can cause listening fatigue. Dropping this range slightly on the mi1 while boosting slightly on vocals can help a vocal stand out in the mi1. Presence Range. This is the key range for clarity and presence of instruments and vocals. >ome gain here will bring the instrument or voice forward in the mi1. ) drop here can pull an instrument back. <ig! Range. This is where you find clarity and sparkle. Too much gain here produces a searing, glassy effect.
>
"o =
<-
"o 1=
<-
>o .. we know that the freCuency is measured is measured in Q9 ;and kQ9?, and that we can increase or decrease the volume at any level, to shape the sound. The sound level itself of course is measured in decibels.
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1= C REAPER P)ugCins in Ac"ion

Be need to understand one more term A S. @ refers to the band width. ) high value of @ means that you will raise or lower a very small part of the spectrum relative to your selected freCuency. ) low value of @ means that you will be working on a much wider part of the spectrum. ,n the ne1t e1ample, you wonJt need to worry about this.
E+a&p)e
%. !. .. /. 'emove from your To1 F4 Pin the T>T . Pand (C ;R<>('?. ,nsert in its place J0:Boser#>,andES This (@ uses four bands. 2otice that you set the freCuencies yourself. Play the song. Rower the last fader in this window ;<utput? to about AGdP. This helps prevent clipping. (1periment with ad3usting the freCuency and levels for different bands to get the most pleasing sound.
1ip: DonJt forget that you can create track parameter controls and*or automation envelopes for this or any other plug5in by clicking n the Para& button in the plug5in window A see Chapter F.
1=.?
1i&e ,ased Effec"s: :e)ay
These include reverb, delay and chorus. >ound takes time to travel thru any distance, and surfaces like walls and ceilings create reflections which make the sound patterns even more comple1, intricate A and alive. Time based F4 use a number of tricks and techniCues to artificially simulate this, thereby creating a more LliveM sound. Put be careful. Too much here can ruin an otherwise good sound.
Para&e"er :e)ay E&sF Feedbac% *i+ in Ed,F 'u"pu" $e" Ed, 'u"pu" dry Ed,F
:escrip"ion Determines the amount of time that passes between the original sound and when the delayed sound is heard. Determines the amount of the signal that will be fed back into the delay line. Determines the overall output level. Determines the <utput level of the Post F4 signal. Determines the <utput level of the Pre F4 signal.
,n this e1ample, we will look at the J0: :e)ay#:e)ay. This has five user ad3ustable parameters. E+a&p)e ,n this e1ample we are going to add some delay to the Pou9ouki. %. !. .. 7nsolo your To1 track and solo the track G"r ,ody. Display the F4 Bindow for this track and add the J0::e)ay#de)ay. Play the song. (1periment with ad3usting the different 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 bo1 than to use the faders. 7nsolo the track, then continue to make any further ad3ustments until you are satisfied with the results.
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E. >ave the file.
/rea"ing Prese"s Bhen you are satisfied with your settings for any plug5in, you might wish to save them as a preset, so that you can apply them ne1t time you record a guitar track& %. !. .. Click on the little ... button 3ust above the T7 meter in the $> Delay*delay window. Choose 0ave prese" from the menu. Type a name and click on '8.
To import an e1isting preset library ;such as you might be able to download from the '()P(' web site? you would choose 7&por" prese" )ibrary. To apply an e1isting preset ;from those previously imported or supplied with the plug5in?, simply insert the plug5in into that trackJs F4 window, display the drop down list of presets, then select the one that you want&
3o"e: For a more sophisticated and powerful e1ample using another Delay plug5in, see the >ection titled Fu)) and Fa" Voca)s $i"! Rea:e)ay
1=.=
Vo)u&e /!anging P)ugCins: "!e Bi&i"er
,n this e1ample, we will look at an e1ample of one volume changing effect, the $>&R<>('&masterRimiter. This can be added to the F4 Bindow for your )>T(' to perform two functions. These may at first appear to be contradictory, but they are not& To raise the overall volume of the mi1, but at the same time K To prevent the mi1 from LclippingM, i.e. getting too loud at any point.
Be will be using the J0:Boser#&as"erBi&i"er which includes the following controls and parameters&
."!
Para&e"er 1!res!o)d
:escrip"ion This determines the level at which the other Rimiter settings will be applied. ,t may seem parado1ical at first, but the lower the threshold, the higher will be the perceived overall volume. )s you lower the threshold, more of the song will be lifted to the decibel limit that you specify. Determines how far ahead the Rimiter looks A this helps smooth out sudden une1pected peaks. Determines how Cuickly the Rimiter kicks in as the signal increases. Determines how Cuickly the limiter recovers to the constant gain after a peak is encountered. This determines the ma1imum volume that cannot be e1ceeded.
Boo% A!ead A""ac% Re)ease Bi&i"
E+a&p)e
%. !. .. /. E. Display the F4 Bindow for your )>T(' and insert the J0: B'0ER#&as"erBi&i"er. Play the song, ad3usting the controls. )s you lower the Threshold, notice that the volume appears to get louder, but the ma1imum ;limit? volume is never e1ceeded, )s you lower the Rimit, the song gets Cuieter. The more you lower both Threshold and Rimit, the more you sCuee9e the dynamics out of the song A volume remains almost constant, and there is little or no movement in the T7.
The trick to using a limiter well is to smooth out peaks and dips somewhat, but without adversely affecting the dynamics of the song.
1=.@
Ana)y"ica) P)ugCins: "!e GF2Ana)y-er
>hown on the right is a J0: GF2Ana)y-er plug5in. ,nsert this into any track8s F4 chain ;or the master8s F4 chain and as the pro3ect is played you are given visual feedback as to the level of output at different freCuencies. This can sometimes help, for e1ample, in identifying which freCuencies might be raised or lowered when using (@. 2ow that you8ve had a look at one e1ample of each type of plug5in. let8s go on and e1amine some more.
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1=.A 1i&e ,ased Effec"s: ReaVerb
'eaTerb is a T>T plug5in that is supplied with '()P('. 'everb itself is a time5based effect, and 'eaTerb 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 'eaTerb. )fter that, it has more features that you can e1plore 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. Qowever, the mathematical process reCuired for this is highly comple1, so that very few come close to sounding like real acoustic rooms. There are probably as many bad reverb plug5 ins around as there are all other sorts of plug5in put together. Bith convolution reverb though, 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 reCuired environment and then recording the result. 'eaTerb 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 to have a collection of impulse wave files. >earch the net and youJll find all you want, many free. This e1ample uses files downloaded from http&**www.vo1engo.com*impulses* ,n the e1ample that follows, these files have been downloaded and stored in a folder that we have created and named /:HProgra& Fi)esHREAPERHReverb 7&pu)sesHVo+engoH
E+a&p)e
%. !. .. <pen the file A)) 1!roug! 1!e 3ig!".RPP and save it as A)) 1!roug! 1!e 3ig!" REVER,.RPP )dd a new track after the last track, and name it Reverb ,us Create 'eceives into this track from all of the instrument tracks and the To1 track. This will later enable you to feed different levels of signal, panned as reCuired, from different tracks into your 'everb Pus. Display the F2 (indo$ for the Reverb ,us. )dd ReaVerb into this F4 Bindow. Fade the (e" level down to around AG" and the :ry level down to about G .?9 as shown on the right. Be will start by adding 3ust a little reverb, then increase it as reCuired. #. Click on the Add button and then on Fi)e. This lets you add a file at the start of your 'everb chain. 2avigate the file browser window to where your impulse files are stored and select one. ,n this case, we will be using 0" 3ico)aes /!urc!.$av
/. E. G.
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0. F. Click on 'pen to insert that file into 'eaTerb. P)ay the file. ,n the Track Bindow, lower the Tolume fader for the 'everb Pus to about A%"dP. Rower the fader on the aster to about A GdP. Nou can bring this up again later if you wish.
%". ,n the 'eaTerb window, now raise the wet signal until you hear a pleasing amount of reverb. This will probably be at about A%" dialog bo1. ,f you like, >olo the 'everb track for a while, so that you can discern the effect more clearly. %%. Be can now use the 'eaTerb controls to ad3ust the 'everb effect. The Pre5reverb fader offsets the reverb tail by delaying the signal that is sent to the reverb tail generator. Try it and see what happens. %!. To add more controls to the 'everb chain, click on Add and choose 1i&e#Gain#0"re"c!. Nour window suddenly has all these e1tra controls. These are used to stretch the impulse ;make it longer?, add in some graininess, or trim the impulse ;make it shorter?. The best way to find out is to e1periment for yourself. %.. 2ow click on Add again and add a Fi)"er EBP#<PF. This causes a Qigh Pass Filter and a Row Pass Filter to be added. This can be used to force the impulse not to work above or below whatever freCuencies you specify. %/. Bhen you have a sound that you like, you can save that set of parameters as a named preset that can by recalled for other pro3ects. Click on the ... button, choose 0ave prese", name the preset and click '8.6 2otice that when you are e1perimenting with 'eaTerb you can& Drag and drop to change the order in which modules are positioned in the reverb chain. 7ntick the bo1 to the left of any moduleJs name to bypass that module.
ReaVerb Fea"ures 0u&&ary Ec!o genera"or 5 generates an echo 5 useful for 6filling in the gaps6 of an impulse or creating echo5decay. <ig! and )o$ pass fi)"er 5 force the impulse not to work above or below a certain point. 3or&a)i-e 5 raise the gain of the impulse to "dPF>. Reverse A reverses the 'everb A a nifty effect for vocals, guitar solos and song intros*outros. 1ri&#Gain#0"re"c! 5 stretch the impulse ;make it longer?, add in some graininess, or trim the impulse ;make it shorter?. Fi)e 5 use this to insert an impulse file. Nou can insert as many files as you want:
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1=.; Vo)u&e /on"ro) $i"! /o&pression
(arlier in this chapter, we encountered a Bi&i"er. Nou can think of a limiter as being like an artificial ceiling A it essentially 3ust stops the volume of a signal from going above whatever level you set. Pecause limiting can be harsh, itJs often better to use a compressor on individual tracks. Think of it this way A a 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 ;center?, and with compression instead of limiting ;right?. 2otice that on the original waveform the volume varies Cuite considerably from time to time. )pplying a limiter ;near right? can lift the Cuieter passages, but may make the overall effect too loud. The dynamics have been largely sCuee9ed out of the song. The illustration far right shows the same waveform after using a compressor instead of a limiter. The track no longer clips, and more of the dynamics of the recording have been preserved. >oftware compressors vary from the simple to the comple1. BeJre going to concentrate here on understanding 3ust four main terms. These are essential to understanding how to use compression. There are other factors, but letJs 3ust focus on these five for now. 1!res!o)d C This is the volume at which the compressor will kick in. For e1ample, if you set your threshold at, say, 5%"dP, then nothing below that threshold will be compressed at all. Ra"io A This determines how gently or severely the compression is reCuired. For e1ample, a very 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 % 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 A This is how the volume of the track is ad3usted 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 Cuiet. Bi&i" 'u"pu" A >electing this option will prevent the compressor output from e1ceeding " dP. ,ypass A this is the small tick bo1 in the top right corner, ne1t to the 7, button. Nou can use this to toggle bypass on and off, enabling you to assess what this plug5in is doing. NouJll find one of these in all plug5in windows.
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E+a&p)e
%. !. .. /. E. G. #. <pen the file A)) 1!roug! 1!e 3ig!".RPP and save it as A)) 1!roug! 1!e 3ig!" /'*P.RPP 0o)o the ,ou-ou%i track. Rook at its media peaks. Nou can see that it starts at a steady volume, but over the last ." seconds or so of the song it gets rather loud. Play the track from the EE second mark for about %E secs then stop it. Try applying some compression to kick in at about A%! or A%. dP. Display the F4 Bindow for this track. ,nsert the V01: Rea/o& p E/oc%osF. Create a loop to play over the last !" secs or so of this instrument. )s you do so, e1periment with setting the Threshold ;vertical fader on the left? and the 'atio. >elect the option to Bi&i" <utput. NouJll probably end up with a setting of something like AE on the Threshold and .."&% ratio ;see picture?. 2ow save this file.
0.
1=.1
B'0ERIs 1ransien"s 8i))er /)ipper
7sed well, a compressor most definitely can enrich a track or a mi1, but used badly it can do more harm than good. ,f youJre not yet very confident about your ability to use a compressor, then you could do worse than look at R<>('Js Transients =iller. ,tJs a delightfully simple compressor ;more like a clipper really? with 3ust two parameters for you to control A Threshold and 'atio. )ll other settings are fi1ed.
1=.11 Vo)u&e /on"ro) $i"! a 3oise Ga"e

$ust as a compressor controls sound at the loud end of the scale, so a 2oise Date controls sound at the Cuiet end. <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: Qowever, 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. Rike the compressor, the 2oise Date can be Cuite simple or more sophisticated. For now, weJre going to focus on 3ust the basic 2oise Date controls& 1!res!o)d A 7sed to specify a minimum sound level below which the 2oise Date will kick in. A""ac% A >pecifies how Cuickly 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 A This specifies how long the gate remains open after the signal falls below the Threshold Re)ease A This determines the rate at which the gate closes, once the signal has fallen below the Threshold.
RetJs take an e1ample, using the pro3ect A)) 1!roug! 1!e 3ig!" /'*P.RPP
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E+a&p)e
%. !. >olo the To1 track. Play the song from 3ust before the end of the first verse. ,f you listen carefully ;especially thru headphones? you can hear some unwanted sounds during the otherwise silent passage. Certainly you can see this on the trackJs T7 meter. <pen the F4 Bindow for this track and add /oc%os V01 ReaGa"e. 2ow play the song again. )d3ust the 1!res!o)d fader ;the first on the left, so that it is set at a level 3ust above that at which the ThresholdJs T7 meter is peaking during the Cuiet passages ;see below?. This will shut out the sound A visual confirmation is given by the T7 meter on the right, which should now display no activity. Nou will probably find that the default settings for )ttack, Qold and 'elease work Cuite well, but e1periment with ad3usting them if you wish. 2ow save this file again.
..
/.
E. G.
1=.12 1i&e ,ased Effec"s: /!orus

$ust about anybody who has ever owned an acoustic guitar will know what a chorus effect is. Nou8ve probably used a chorus pedal at some time or another to make your guitar sound fuller and richer, almost like two or more guitars. '()P(' includes a number of chorus effects. >hown here is 0s"i))$e))Ds /!orus60"ereo. This uses similar principles to the delay plug5in that we encountered earlier. ,t has a number of additional controls, the most important of which is 3u&ber of Voices. Try it and see: This is another plug5in where youJll find the bypass toggle tick bo1 ;top right? can be very ueful.
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1=.13 3oise Reduc"ion $i"! ReaFir
ReaFir is a multipurpose dynamics plug5in that almost defies categorisation or description. ,t can act as an (@, a Compressor, a 2oise Date, and more. ,n this e1ample, you will see how it can be used for noise reduction. The need for a noise reduction plug5in can arise when an otherwise good track has some unwanted background noise on it. This might, for e1ample, 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 two? where you have recorded the unwanted noise by itself. This is likely to be at the very beginning of the track.
E+a&p)e and Procedure

,n overview, the procedure is this& %. ,nsert ReaFir in the F4 window of the track containing the recorded items with the unwanted noise. Position the play cursor at the start of a passage containing 3ust the unwanted noise. >et ReaFir to 0ub"rac" mode. >et (dit ode to Precise. >elect 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. Nou should see that ReaFir has built a profile of the unwanted noise. This will be marked with a red line ;see above right?. 2ow uncheck the bo1 labelled Au"o&a"ica))y bui)d noise profi)e. 'eturn the play cursor to the start of the song and play it.
!.
..
/.
E. G. #. 0. F.
%". Nou should now find that as the song plays, the noise that you profiled by following steps %. to E. has now been removed.
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1=.1> *u)"iband /o&pression $i"! Rea2/o&p
)pplied to the aster, ultiband Compression can be a useful tool for adding body, warmth and volume to your final mi1. ,t is outside the scope of this guide to suggest 3ust how heavily or lightly you should apply your ultiband Compressor. any audio engineers believe Cuite strongly that the contemporary trend being currently pursued by the ma3or record companies takes multiband compression too far. Pe that as it may, a multiband compressor works by applying different rates of compression to different freCuency bands. This lets you shape the sound much more precisely than is possible with a simple compressor. The 'ea4Comp default settings include / bands. These are " to !"" Q9, !"" Q9 to %,""" Q9, %,""" Q9 to E,""" Q9 and above E,""" Q9. Qowever you can add e1tra bands or delete superfluous ones. Nou can also change the band freCuencies as you wish. For e1ample, if you increase the top freCuency of Pand % to, say, !E" Q9, then that automatically becomes also the starting freCuency for Pand !. ,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. Nou can e1periment on any of the sample A)) 1!roug! 1!e 3ig!" pro3ect files that you have used elsewhere in this 7ser Duide.
E+a&p)e
%. <pen one of your sample pro3ect files. !. ,nsert Rea2/o&p in the F4 window for the .. Play your pro3ect from the beginning. /. ,t is Cuite likely that at this stage 'ea4Comp will have no effect on the sound. This will be the case if, as shown right, the peak levels ;green vertical bars? fall short of the threshold settings ;red hori9ontal lines? for each band. Put you can still learn something: E. (nable the 0o)o curren" band feature. G. )s the song plays, select in turn each of the four tabs, %, !, . and /. This will enable you to hear separately each of the freCuency ranges that you are working on. #. 2ow disable the 0o)o /urren" ,and feature. Disable Au"o &a%eup gain. aster.
.%"

0. F. )s the song plays, ad3ust the threshold for each of the band until they come 3ust below the peaks for each band. )n e1ample of this is shown here. The default 'atio setting of !&% is Cuite conservative. Try increasing the ratio for each of your thresholds up to around /&%.
%". ,f you wish, you can e1periment with the various other controls, especially the 8nee. This setting determines how suddenly or gradually the compression is applied. %%. Nou can also e1periment with the Gain controls if you wish, both for individual bands and for your overall mi1.
Using Rea2/o&p: 0o&e 1ips

DonJt create too many bands. Too many independently compressed bands can make your mi1 sound dis3ointed. any of the best mastering engineers have produced much of their best work with as few as three bands. Risten closely to the changes in sound as you ad3ust 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 ad3ust 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 Dain settings only to compensate for loss of volume due to compression, not to pump the signal up. ) notable e1ception here might be where one bandwidth needs to be lifted or lowered slightly relative to the others. ,t is often advisable to place a limiter ;such as R<>('Js in your F4 Chain. aster Rimiter? after the ultiband Compressor
)nother, and completely, separate use for a ultiband Compressor is to compress a very specific freCuency within a track, for e1ample as a de5esser or de5popper on a vocal track.
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1=.1? 3E(4 Rea/on"ro)*7:7
The Cockos 'eaControl ,D, plug5in can be used with any ,D, track to set various ,D, parameters on that track. ,t can be inserted from the trackJs F4 chain, or by right5clicking over the track name or number and choosing 0!o$ Rea/on"ro)*7:7 for 0e)ec"ed 1rac%s from the menu. )n e1ample of this plug5in in use is shown here. Nou can, of course, use several different instances of this plug5in on the one track to send different ,D, messages to different channels. any D)Bs have ,D, tracks with ,D,5specific 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 fle1ibility, because you can insert multiple instances, or insert it at any point in an F4 chain, either for the track as a whole or for individual items. Nou can also assign track controls to the TCP and*or CP to manage its parameters where you think it appropriate. 'eaControl ,D, also gives you a vehicle for creating ,D, CC track envelopes, by automating the plug5in8s enabled CC sliders.
1=.1= J0: 72#*7:76Rou"er

This plug5in is used to redirect ,D, data from one channel to another. Nou can choose whether to send notes, non5 notes, or both.
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1=.1@ B'0ERIs 1i&e:ifference Pan
<f the many ;and growing number of? $esusonic plug5ins that are supplied with ;or available for use with? '()P(', R<>('Js TimeDifference Pan definitely merits a mention. ,t is delightfully simple to use, but very effective. >ometimes you may feel that a track you have recorded sounds rather LthinM or LwimpishM. NouJll want to fill it out a bit, or fatten it up to make it sound richer, warmer, fuller. ,n this case, one old trick is to duplicate the track and run the duplicate track a few ms behind the original, panned differently. Fed back into the main mi1, this can almost make the one instrument sound like two instruments at times. R<>('Js TimeDifference Pan plug5in effectively does all this for you A with much less time and trouble on your part, and with very, very little CP7 overhead. ,f you want to e1periment with this plug5in to try out the effect for itself, the ,ou-ou%i track on A)) 1!roug! 1!e 3ig!".RPP lends itself to this Cuite well.
1=.1A B'0ERIs E+ci"er

R<>('Js (1citer plug5in is a great but simple way of putting some high end sparkle back into an otherwise muddy sounding mi1 <f course, where possible, it is better to fi1 problems with individual instruments or tracks, but even after doing that you may still find that your mi1 lacks a certain vitality. Place the (1citer at or near the beginning of the aster F4 chain and see for yourself. 2ote these settings& FreTuency A the freCuency above which you want to add the sparkle. Try e1perimenting in a range of about !""" Q9 to /E"" Q9. >ometimes, you may need to go even higher for the best results. /)ip ,oos" A the amount by which you wish to boost the volume above this freCuency. Pe gentle at first. <ar&onics A the amount of Qarmonics you want to add to the mi1 ;go easy on this one?.
1=.1; 001i))$e))Ds <uge,oo"y

This is a delightfully simple plug5in that can be used to enhance the bass freCuencies on any track. Try setting the reCuired freCuency first, then gradually increasing drive and mi1 until you like what you hear.
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1=.2 0o&e Gui"ar F2 P)ugCins
ThereJs a whole series of $esusonic plug5ins especially designed to help you shape your guitar sounds. Py and large, they work in much the same way as your guitar pedals do. Qere is a selection&
P)ug 7n
J0 Gui"ar#a&pC&ode)
:escrip"ion
Rets you select an amplifier to be simulated, such as a Fender or a arshall. Rots of parameters for you to tweak: The waveform is fed thru a series of delays whose delay times are slowly modulated. The shape of the chorus sound is moulded primarily by the Rength, 2umber of Toices, and 'ate settings. This plug5in works by distorting the shape and freCuency content of the waveform. The degree of distortion applied is determined principally by the Dain and Qardness settings. Flanging is an effect that occurs when a signal is mi1ed with a delayed copy of the signal, while the delay time continually changes. The flange effect is basically set by ad3usting the Delay Rength, 'ate and Feedback parameters.
J0 Gui"ar#c!orus
J0 Gui"ar#dis"or"ion
J0 Gui"ar#f)anger
J0 Gui"ar#p!aser
This four allpass filter stereo phaser effect settings include 'ate ;Q9?,'ange ; in and a1?, and Feedback. The wah effect is also a filter effect, produced by the combination of the Position, Top 'esonance, Pottom 'esonance and Filter Distortion settings. ) tremelo effect is produced by a low5freCuency variation in a sound8s amplitude envelope. This is determined by setting the FreCuency ;Q9? and )mount ;dP?.
J0 Gui"ar#$a!
J0 Gui"ar#"re&o)o
,f you use more than one effect on a guitar, then the effect is of course cumulative, and the order in which you apply them will determine how good ;or otherwise? the outcome is. )s a starting point, a suggested order is& Fi)"er ;such as Bah or Phaser? /o&pressor :is"or"ion ES Pi"c! /!ange ;such as Tibrato? *odu)a"or ;such as Flange or Chorus? Beve) /on"ro))er ;such as Tremelo or Rimiter? Ec!o ;such as 'everb? <f course, we are not suggesting that you will want to use all these effects at once: ,f you do use more than one effect, however, the above is a good starting order. This does not mean that you shouldnJt hold back from e1perimenting with other F4 ordering, to see what creative sounds you can produce:
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1=.21 0o&e '"!er REAPER J0 P)ugCins
This last part of this chapter will give you an overview of some of the other wonderful $esusonic plug5ins supplied with '()P('. ,t is only a small selection, and the fact that any plug5in isnJt included in this table in no way implies that it is inferior to any of those that are included.
P)ug 7n
J0 Fi)"ers#dc6re&ove J0 72#0"ereoP!ase7nver"er
:escrip"ion
) DC offset removal plug5in. <ffers four choices, 2ormal Phase, ,nvert Reft, ,nvert 'ight or ,nvert Poth. ) stereo phase inverter with the addition of selectable input and output channels. This can be used, for e1ample, 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. 7sed to create an enhanced stereo effect in a stereo track, folder, bus or aster.
J0 72#P!aseAd5us"ingRou"er
J0 B'0ER#::/ J0 B'0ER#0PBi&i"er
J0 B'0ER#0"ereoEn!ancer
J0 B'0ER#(aves!aping :is"or"ion J0 *e"ers#"uner
) delightfully easy to use plug5in that adds distortion to a track.

,nsert this into a new track and arm for recording, then tune your guitar.
J0 *e"ers#vu&e"er
,nsert this into any particular track when you want monitor its T7 levels closely. ) neat plug5in that lets you create autowah type effects. )n interesting plug5in that creates sound effects by shifting pitch or freCuency for audio blocks of a determined si9e. <ne of a number of plug5ins that can be used to change pitch. ) simple plug5in with two controls, used to make a track or mi1 louder.
J0 au"opea%fi)"er J0 *isc#"onifier
J0 Pi"c!#superpi"c! J0 00"i))$e))#)ouderi-er
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P)ug 7n
J0 00"i))$e)) # o--ifier
:escrip"ion
(specially good for fattening or doubling a vocal track.
J0 00"i))$e))#e+pander
The opposite of a compressor: Can restore dynamics to a mi1 that sounds overcompressed. This works by raising the volume of the signal when it falls below a given threshold. )dds a high pass filter and low pass filter to a track or for e1ample, for removing bottom end rumble. aster. 7seful,
J0 00"i))$e))#!pf)pf
J0 00"i))$e))#badbuss&o5o
) nonlinear waveshaper.
1=.22 3E(4 0pecifying V01 P)ugCin Run *ode

Bithin the F4 Prowser you can right click over any T>T plug5in to specify your preferred mode for running that individual plug5in. Nour 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 Cuarantine '()P(' from the effects of any plug5in that you suspect may be causing performance problems.
1=.23 1!ird Par"y P)ugCin Prese"s

Nou can use your favourite third party T>T and Direct4 plug5ins with '()P(', such as >onitus, Bave )rts, >ony, and so on. any of these plug5ins are supplied with a number of Presets. ,tJs worth noting that the method of accessing these plug5ins will vary depending on such factors as the plug5inJs native interface and the type of plug5in ;for e1ample, whether T>T or Direct4?. ,n this section, we will look at three e1amples. )rmed with this information, you should be able to figure out where to find the presets for any of your plug5ins.
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E+a&p)e 1
This e1ample ;left? is of a popular Direct4 >onitus plug5in, odulator. ,n this case, the plug5in interface includes its own native Prese"s section. Clicking on that ;shown left? displays a menu of supplied presets. Nou can also store your own presets here if you wish, as the >onitus range of plug5ins includes its own preset manager. 2otice that you can also use '()P('Js own Preset Ribrary to store your presets. This is accessed by clicking on the small button ;with the three dots? shown 3ust below the Rearn button. This is especially useful when you are working with plug5ins that might not have their own native Preset anager. E+a&p)e 2 This e1ample ;right? shows a TBest T>T plug5in, >T()DN Pro. This plug5in does not have its own native preset manager. Qowever, as with other plug5ins you can use the '()P(' T>T program interface to create your own presets.
E+a&p)e 3
) Direct 4 plug5in this time, >onyJs 'esonant Filter. ,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 e1ample, right5click over any vacant area of the plug5inJs D7, interface to display a list of factory presets.
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1!e /)ever 0"uff
1@ C *ore REAPER Rou"ing E+a&p)es 1@ *ore REAPER Rou"ing E+a&p)es

This section is mainly intended for reasonably e1perienced users of D)B software, to show you some of the more clever aspects of '()P('Js routing that are probably different from anything youJve e1perienced before. Put hey, even if youJre a complete newb, have a look anyway if you like. Nou might find it interesting.
1@.1
/on"ro))ed ,)eed
Pleed is a term used when material intended to be recorded on to one track manages to overflow onto others. This commonly happens&
Bhen more than one voice or instrument is recorded at the same time, each with its own microphone. For e1ample, you might record a person singing and playing an acoustic guitar at the same time, perhaps one vocal mike, one guitar mike. Qowever, you will find that some of the vocal will bleed thru on to the guitar mike, and vice versa. Bith layered recording, when the headphones are so loud, or ill5fitting, that the microphone being used for recording actually picks up some of the output of the headphones.
Qeadphone bleed is bad, period. ,f, for e1ample, you have an artist who likes to hold one headphone to her ear while overdubbing a vocal, then make sure the mi1 is sent to that ear only. Qappily, '()P('Js fle1ible routing makes this simple. ,n the e1ample shown ;right?, output from the aster is directed to both >peakers, 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. ;Rayered recording is where each track is recorded one at a time?. The trouble is, the Lall at onceM method of recording it also has negatives A serious ones. For e1ample& ,t isnJt possible to drop in and overdub a short passage to correct perhaps a vocal phrase or a couple of bars on the guitar. Pasically, the whole track has to be recorded again each time. (verything. ,t isnJt possible in mi1ing to get the best sound for each track. For e1ample, 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('Js routing capabilities can be so useful. They allow you have the best of both worlds A the richer, fuller sound that you can get from adding a small amount of controlled bleed, but without the disadvantages. QereJs how it works& 7se layered recording, to ensure that each track is recorded cleanly. 7se '()P('Js routing capabilities to add a little bleed where you want it, after any F4 in the F4 chain.
.!%

E+a&p)e
This e1ample demonstrates a simple use of routing to create a controlled bleed effect. %. !. .. <pen the file A)) 1!roug! 1!e 3ig!".RPP and save it as A)) 1!roug! 1!e 3ig!" ,BEE:.RPP ute the Pou9ouki track. To keep this e1ample simple, we wonJt be using it here. >elect the Vo+ track, right click over the Tolume fader and set the number of track channels to /. Display the F2 (indo$ for the Vo+ track. )dd a 'everb F4 of your choice. ,n this e1ample, we are using ReaVerba"e which is included with '()P('. )fter inserting the 'eaTerbate plug5in ;or whatever you are using?, ad3ust its settings to suit. 7se its pin connector to direct output to Channels . and / only ;see above?. Display the 7#' Bindow for the To1 track. )dd 0ends from the To1 ;Channels .*/? to both Duitar tracks, as shown. Pan these sends at about #"O left and right respectively, about A%EdP, and Post F4 ;see illustration?. Play the song, with the To1 track aster*Parent send disabled. )d3ust the >end levels of To1 to both Duitar Tracks so that the To1 can only 3ust be discerned in the very background. (nable the aster*Parent send on the To1 and play again. The To1 should sound fuller and richer than before. >ave the file.
/.
E. G.
#.
0.
F.
3o$ "ry "!is4 'emove the 'everb F4 from the vocal track. 'emove the sends from the Voca) Track to the Gui"ar Tracks. Create a new track called Vo+ Reverb and insert a 'everb F4 of your choice. Create a send from your Vo+ track to this Vo+ Reverb tracks. Create sends from the Vo+ Reverb track to both Gui"ar tracks, Post F4. Play the song, ad3usting >end, Pan and Tolume levels to suit.
.!!
1@ C *ore REAPER Rou"ing E+a&p)es

1@.2 0p)i""ing /!anne)s
This e1ample will introduce you to a feature in '()P(' that possibly delivers you more mi1ing power than any other single item& the ability to create and use multiple channels. DoesnJt sound very interesting or e1citing does it+ ,tJs not an easy concept to understand at first, so, 3ust for fun, weJll take as simple an e1ample as we can to introduce the concept. Nou have an acoustic guitar track recorded. Nou should by now have a general idea at least about how to shape its sound with (@, or fatten it with a little delay. Put in this e1ample, weJre going to take it to another level, so, for e1ample, we can split the recorded track by different freCuency bands into, say, three different paired channels, and perhaps pan different freCuencies differently, or add some trailing delay 3ust to one channel ;i.e., one selected freCuency range?. Bhy would you want to do this+ Bith this particular e1ample, maybe you would, maybe you wouldnJt. Put being able to create and use channels in this way opens up endless mi1ing and editing possibilities. BeJll start with this e1ample because itJs a fairly simple one, and it will help you to understand how itJs done. The later, weJll look at a more comple1 case.
E+a&p)e
%. !. <pen the file A)) 1!roug! 1!e 3ig!".RPP and save it as A)) 1!roug! 1!e 3ig!" /!anne)s.RPP Be are ;for the purpose of this e1ample? going to work only with the track G"r ,ody. *u"e all other tracks e1cept this. To do this, hold the A)" key and click on the *u"e button for this track. Be now are going to create three tracks A letJs call them Dhost Tracks A to mirror each of the three bands that we are going to split our G"r ,ody track into. Create these three tracks and label them Bo$, *ediu&9 and <ig!. >ee illustration above right. Display the 7' (indo$ for the G"r ,ody track. >et the number of /!anne)s ;near the top? to =, and create sends to each of the three tracks that you have 3ust created. >end )udio from /!anne)s 1#2 to the Bo$ track, /!anne)s 3#> to the *ediu& track, and /!anne)s ?#= to the <ig! track. ;see illustration right?. Detting complicated+ Then make sure that your Rou"ing *a"ri+ is in view. 2ow open the F4 window for the G"r ,ody track and insert the J0 B'0ER#3,and0p)i""er.
..
/.
E.
G. #.
.!.

0. >et the first freCuency fader to about !"" Q1 and the second to about !""" Q9.
F.
>olo the Bo$ track and play. 2otice you hear only the Row freCuencies. edium
%". 7nsolo the Row track, then >olo the *ediu& track and play. 2otice you hear only the freCuencies.
%%. 7nsolo the edium track, then >olo the <ig! track and play. 2otice you hear only the Qigh freCuencies. %!. (1periment ad3usting the faders in the . Pand >plitter and playing back, until you are satisfied with your settings. %.. 2ow select the *ediu& track, open its F4 bin and add J0:Gui"ar#c!orus. )d3ust the settings to suit. %/. 2ow unsolo any solo tracks, unmute any muted tracks to restore all tracks to your mi1. NouJll probably want to fade down the original Dtr Pody track somewhat. %E. ake any further ad3ustments you want to your :e)ay /!orus settings . )n e1ample ;but only an e1ample? is shown above.
%G. (1periment with panning the three bands differently, to create a fuller sound. %#. >ave this file.
The plug5ins supplied with '()P(' include several which can be used for channel manipulation, including a four band splitter ;shown here?.
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1@.3 Fu)) and Fa" Voca)s $i"! Rea:e)ay
This ne1t e1ample shows how you can combine '()P('Js channel splitting capabilities with the 'eaDelay plug5 in to create a simple effect for fattening up thin vocals. The flow chart on the right illustrates how this can be done. The signal flow shown has this effect& ,t uses 'eaComp to apply some compression to the main vocal. ,t creates a sidechain which is fed into the 'eaDelay plug5in to fatten the original sound and to fill it out. The delayed signals are then mi1ed back in with the original signal, where further compression is then applied.
<f course, if you wish, you could apply more F4 to any or all of& The original dry recording. The sidechained and delayed signal. The final mi1 of the dry and sidechained ;delayed? signals together.
E+a&p)e
%. !. .. /. E. G. <pen the file A)) 1!roug! 1!e 3ig!".RPP and save it as A)) 1!roug! 1!e 3ig!" REA:EBAL.rpp. >olo the Vo+ track. For the purpose of this e1ample, we will be working with the vocal track alone. Display the 7#' window for this track and set the number of track channels to >. <pen the F2 (indo$ for this track. ,f there are already any 5plug5ins already in the chain, remove them. 2ow insert Rea:e)ay into the F4 chain. Click on the 2 7n 2 <ut button to display the connector matri1. Reave the 7npu"s at their default ;Channels % and !?, but ad3ust the 'u"pu"s so that they are /!anne) 3 ;Reft? and /!anne) > ;'ight?, and only these two channels ;as shown?. Click on the Add 1ap button to add a second page. >et Page % to a Delay Rength ;time? of about %/ms or %E ms and musical length ". >et Page % Panning to about E"O Reft. This shows on the fader as A".E. >ee the illustration at the top of the ne1t page.
#. 0. F.
%". >et Page ! to a Delay Rength ;time? of about Gms or # ms and musical length ".. %%. >et Page ! Panning to about E"O 'ight. This shows on the fader as ".E. %!. ake sure that both pages are Enab)ed and that neither is soloed.
.!E

%.. ,nsert Rea/o&p into the F4 Chain. Reave the ain ,nputs and <utputs both at their default settings, which are Channel % ;Reft? and Channel ! ;'ight? %/. >et the Ra"io control to about =:1. )d3ust the 1!res!o)d control so that during the louder passages 'u"pu" is reduced by about G or # dP. %E. 2ow insert another instance of Rea/o&p into the F4 Bindow. %G. ,f you wish, you can rename your 'eaComp instances to avoid confusion. %#. Click on the > 7n 2 'u" button to display the connector matri1. For the second 'eaComp instance, set the ain ,nputs to Channel % and Channel . ;left? and Channel ! and Channel / ;'ight?. %0. Reave the <utput at its default, which is Channel % ;Reft? and Channel ! ;'ight?. %F. >et the Ra"io at about /&%. !". Play the vocal track. )d3ust the (e" a :ry output levels from Rea:e)ay to suit. !%. >elect the second Rea/o&p instance. )d3ust the 1!res!o)d so that during the louder vocal passages the 'u"pu" is reduced by about E dP to G dP. ;see right?. !!. Bhen you have finished e1perimenting, save the file. 3o"e: ,n this e1ample, the order in which the F4 are applied is significant. Bith the order that we have used, the sidechained ;delayed? signals do not go thru the first compressor, with the result that these signals retain more of their original dynamics.
.!G

1@.> /!anne) 0p)i""ing and Pi"c! 0!if"ing
NouJve already seen how 'eaPitch can be used, for e1ample, to create vocal harmonies from a lead vocal track. ,n this e1ample you will see how by splitting our vocal track into several channels you can create a whole vocal ensemble, with different F4 and plug5ins being applied to different harmony parts. This is especially useful, for e1ample, if you want to compress your vocal harmonies before lowering them, to make them sit smoothly and subtly behind the lead vocal. The illustration ;right? demonstrates this concept. ,n summary, this is what happens& The Tocal Track is assigned si1 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 . and / and E and G respectively to two separate instances of 'eaComp. ,n each case, you will need to specify Channels . and / ;'eaComp %? and Channels E and G ;'eaComp !? as the input source for your compressors. )u1iliary ,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(@, as is the original signal on Channels % and !. ,n order to do this, you should make ,nput % for 'ea(@ Channels %, . and E ;see illustration right?, and ,nput ! should be Channels !, / and G. The three streams are 3oined back together at 'ea(@, from which they are fed to the volume fader. 1ip: ,f you forget to create your reCuired track channels before loading your plug5ins into a track8s F4 chain, then you can still add them 6on the fly6. To do this, 3ust click on the small R button in the bottom left corner of the Plug5in Pin Connector window 5 see position of mouse cursor ;right?.
.!#

1@.? Audio :uc%ing
The ne1t e1ample in this section will show you how to use '()P('Js routing capabilities to create an effect known as duc%ing. Put Cuite 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. Nou might want to do this, for e1ample, when working with a kick and a bass. ,n this e1ample, weJll use the Pou9ouki, Duitar and Tocal tracks in our sample pro3ect, 3ust to show you how itJs done. Be will use audio ducking to ensure that the overall volume of the instruments are automatically lowered slightly whenever there is a signal on the Tocal track. This helps lift the vocal track slightly above the mi1. ,n order to do this, we use multi channel routing in con3unction with the 'eaComp compressor. The illustration below illustrates the concept of how we use sidechaining to achieve our ducking effect.
RetJs take it step by step.
E+a&p)e
%. !. .. /. <pen the pro3ect A)) 1!roug! 1!e 3ig!".RPP and save it as A)) 1!roug! 1!e 3ig!" :U/8.RPP. ,f there are any tracks other than G"r ,ody, G"r 3ec%, Vo+ and ,ou-ou%i, delete them, so that you are left with 3ust these four tracks. ,f necessary, rearrange track order so that Vo+ is Track %, Dtr Pody Track !, Dtr 2eck Track . and Pou9ouki is Track /. ,n the Track Control Panel, select the Vo+ track and press /"r) 1 to insert a new track after this. 2ame this new track 7ns"ru&en" 0ub&i+.
.!0

E. G. Click on the Fo)der icon to make this track a folder. folder. >ee picture right. Be need to add two more channels to the 7ns"ru&en" 0ub&i+ track so that it can receive a sidechain signal from the To1. 'ight click over the Tolume fader for this tracks in turn, then set the number of channels to four. >ee picture below right. Be now need to create a sidechain to enable the various instrument and 7ns"ru&en" 0ub&i+ track to detect the signal level of the To1 track. Display the 7#' Rou"ing (indo$ for the 7ns"ru&en" 0ub&i+, then create a Receive from the To1 track. Direct the signal in via Channel .*/, as shown below. 2e1t, display the F4 window for the ,nstrument >ubmi1 Track. )dd the /oc%os plug5in V01: Rea/o&p E/oc%osF ake the Pou9ouki track the last track in the
#.
0.
F.
%". 2otice that this plug5in includes an item called :e"ec"or inpu". This is where we tell '()P(' that we want the To1 level, not the Pou9ouki level to control when the compressor kicks in. This Detector input offers two basic choices A *ain 7npu" and Au+i)iary 7npu". %%. Be need to make sure that ain ,nput is defined as the media on the >ubmi1 track itself ;Channels % and !?, and )u1iliary ,nput is defined as the stream coming from the To1 track on Channels . and /.
%!. Click on the > 7n 2 'u" button and if they are not already set, set the assignments as ain ,nput R5 'eceive from Channel %, ain ,nput ' 5 'eceive from Channel !," )u1iliary ,nput R A 'eceive from Channel ., and )u1iliary ,nput / A 'eceive from Channel /. %.. 2ow display the :e"ec"or 7npu" drop down list and select Au+i)iary 7npu" B R R. The settings should now be as shown below.
.!F
%/. 2ow play the song. )d3ust the 1!res!o)d ;first vertical fader? downward, so that during Tocal passages the T7 meter peaks above the fader level ;see below?, then slide the Ra"io fader right until you are satisfied with the overall amount of reduction on the ,nstruments. This will probably be somewhere between /&% and G&%. Nou should be able to see the flashing red bar to the left of the <utput T7. This indicates the amount of reduction that is occurring on the submi1 track. ,n the e1ample shown below, this is AE.# db.
%E. >ave the file.
.."

1@.= :oub)e :uc%ing
This e1ample should only be attempted after you have completed the e1ample in the previous section Audio :uc%ing. ,t builds on the work you did there, to apply a further instance of sidechaining, this time to the aster. Be 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 mi1 during the vocal passages. The same audio stream is used to apply ducking in two different ways A hence the term double ducking. )s with many of the other e1amples included in this section, the main purpose of this e1ample is to help you to understand how to use '()P('Js routing capabilities. The e1ample itself is of secondary importance. ,n the previous e1ample, we used a send from the To1 track to Channels . and / on the ,nstrument i1 track and then used these as )u1iliary ,nputs to gently compress the ,nstrument i1. Pecause the ,nstrument i1 is itself being routed to the aster, that To1 track send will automatically also be sent to the aster on Channels . and /.
E+a&p)e
%. !. <pen the file A)) 1!roug! 1!e 3ig!" :U/8.rpp and save it as A)) 1!roug! 1!e 3ig!" :'U,BE :U/8.RPP. >elect the aster Track. 'ight5click on the Vo)u&e fader for the aster and ensure that the number of Channels is set to four. ;,n fact, it should already be set to four?. Close this window. Display the F2 (indo$ for the Rea/o&p. aster Track and insert
.. /.
ake sure that the )u1iliary ,nput R is set to Channel . ;see right? and )u1iliary ,nput ' is set to Channel /. These should already be the default settings. >et the Ra"io to around !." to %. Display the :e"ec"or 7npu" drop down list and select Au+i)iary 7npu" B R R. Play the song. During the vocal passages, ad3ust the left hand vertical Threshold fader so that the compression kicks in gently. 'aise the vertical (e" fader by about a decibel. ake sure that Bi&i" 'u"pu" is selected. )n e1ample of how your settings might look is shown. ;right?. ThatJs it: Nou can now save your file.
E. G.
#.
Nou can use sidechaining in con3unction with a number of '()P(' plug5ins, including 'eaDate, 'ea4Comp, 'eaComp and 'eaFir.
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1@.@ Rea0a&p)o&a"ic and Rea:ru&s
This e1ample uses the Rea0a&p)o&a"c plug5in provided with '()P(' in con3unction with the Rea:ru&s track template created by 5a&es"er. Nou can download this template from the '()P(' web site. To check the current address for this, visit the '()P(' Forum and check 3amester8s signature. )fter downloading, it should be copied into your Track Templates folder, /:H:ocu&en"s and 0e""ingsHUser 3a&eHApp)ica"ion :a"aHREAPERH1rac%1e&p)a"es ,n the e1ample that follows, we will using the *7:7 Edi"or for demonstration purposes, but of course if you have a keyboard, you can use that instead.
E+a&p)e
%.Create a new empty pro3ect file and save it as Rea:ru&s E+a&p)e.RPP !.'ight click over the Track Panel )rea and from the menu choose 7nser" "rac% fro& "e&p)a"e then your Rea:ru&s template. 2otice that a track will be inserted, already armed for recording and with eight individual named instances of 'ea>amplomatic inserted in its F4 bin. ..2otice that each instance of 'ea>amplomatic is set up differently. From top to bottom, these are =ick, >nare, Perc %, Perc !, Perc ., Perc /, QQ Cl, QQ <p /.2ow display the edia (1plorer A /"r) A)" 2 A and select a folder where your samples are stored. E.,n the 'eaDrums F4 window select the item =,C=. From the edia (1plorer window, drag with your mouse the reCuired sample file and drop it into the 'ea>amp window, in the edit bo1 3ust left of the Prowse button.
G.2ow repeat this process in the other seven 'ea>amp instances, one at a time, for each of the other seven instruments, each time inserting a different appropriate sample.
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#. ,f the 'eaDrums track is still armed, unarm it. >ave the file. 0. )long the timeline select the first %" seconds or so. Bith your 'eaDrums track selected, choose the 7nser"9 3e$ *7:7 7"e& command to insert a ,D, item. F. Double click on this item to open the and Vie$9 *ode9 3a&ed no"es. ,D, (ditor. From the menu choose Vie$9 3o"e s"y)e9 1riang)e
%". Compose a few notes, similar to the concept shown below. Don8t copy this pattern, make a simple composition of your own.
%%.
Close the
,D, (ditor and save your file.
%!. ,f you wish, you can also use '()P('Js channel routing to send different parts to different tracks, where you can add F4, ad3ust panning, volume, etc. RetJs suppose we wish to apply some F4 to the kick and the snare individually. 'ight click over the Tolume fader for the 'eaDrums track and set the number of channels to four. BeJll start with 3ust one or two. %.. %/. Press /"r) 1 twice to add two more tracks. 2ame the first of these tracks 8ic%, the second 0nare.
%E. ,n the Rea:ru&s "rac% set the number of Channels to /, and create a send to the new 8ic% 1rac% ;using channel .? and the 0nare 1rac% ;using channel /?. %G. %#. %0. <pen the F2 (indo$ for the Rea:ru&s track. >elect the first 'ea>amp instance, the 8ic%. >et both its T>T <uts to Channel .. >elect the second 'ea>amp instance, the 0nare, and set both its T>T <utputs to Channel /.
%F. 2ow play the music. 2otice that the =ick and the >nare have been rerouted to their respective tracks. <f course, you could now place any F4 that you wish in the F4 windows for those tracks. !". >ave 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. 3o"e: ,f you download the track template Rea:ru&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.
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1@.A *u)"i 'u"pu" V01i P)ugCins
'()P(' is capable of some very fle1ible routing_ this fle1ibility can be used to great effect when you want to use multi5output T>Tis in your pro3ects. The e1amples that follow will outline two ways in which you can do this. , am indebted to dar%s"ar for showing me how this is done. Nou may well use these functions to set up multi output T>Tis only once or twice but itJs 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.
E+a&p)e 1: Using Paired Audio 1rac%s

%. !. 'ight click over the empty area of the Track Control Panel and from the menu choose 7nser" vir"ua) ins"ru&en" on ne$ "rac%. Bhen the F4 browser window is shown, double5 click on the reCuired instrument. This e1ample uses the 05output version of Gri--)y ;/ stereo channels?. Nou will be asked to confirm whether you want the appropriate number of tracks built for the particular instrument that you have chosen ;see right?. Click on '8. '()P(' will now insert the instrument into the F4 chain for the original track, name it and arm it for recording. ,t will also create all the additional tracks for you.
..
/. E.
G.
Nou now have a single in this e1ample&
,D, input track for the T>Ti together with four output audio tracks. 2otice that
Channels %*! from Track % are directed to Track !, Channels .*/ to Track ., Channels E*G to Track / and Channels #*0 to Track E. 2o output is sent directly from Track % to the aster.
../

#. Nou8re now ready to load your instruments ;in this e1ample, select a drum kit? and to start playing.
E+a&p)e 2: Using 0epara"e *7:7 1rac%s

,f you want a separate ,D, track for each T>Ti output channel, you should use this method. )gain, for the sake of the e1ercise, we8ll use Dri99ly, but you would use the same method for any other multi5output synth. %. !. Create a new track and name it. <pen the trackJs F4 window and add the reCuired T>Ti to the trackJs F4 chain. From the F4 chain 'p"ions menu choose the command ,ui)d 1= c!anne)s of *7:7 rou"ing "o "!is "rac%. Nou now have a separate ,D, track for each channel. 2otice from the routing that the ,D, output of each of these %G tracks is sent to the track on which you originally inserted the T>Ti.
..
Nou have a number of options for assisting you with managing this set of tracks. For e1ample, you can put the ,D, Tracks in one folder, name the folder, color the tracks and hide them in the i1er.
To enable keyboard input for the individual select all %G ,D, tracks.
,D, tracks&
make sure that the T>Ti track is not armed for recording. click the 'ecord `'a button to e1pand them. click the 'ecording onitoring button to turn on ,nput monitoring for all %G tracks. ,D, input channel, from "% to %G. for each track, set the
click the 'ecord `'a button again to collapse the tracks.
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1@.; Para))e) F2 Processing: "!e 72 /!anne) *i+er
Two great $esusonic plug5ins are the 72 # *i+er A+0 and the 72 # *i+er A+* which open up Cuite remarkable possibilities for how you can route your audio along different channels, then mi1 them back to produce some truly creative sounds and effects. The main difference between them is that one works with stereo paired channels, the other with mono channels. The e1ample that follows is designed to show you how these mi1ers can be set up and used. )fter working thru it, you should be capable of using it for your own pro3ects.
E+a&p)e
,n this e1ample, we will send output from one instrumental track separately to a Distortion F4 and a 'everb F4, then mi1 the wet and dry signals back together, panning as reCuired A all within one single track and without using any busses. To do this, weJll use the 72 *i+er A+* together with a couple of other plug5ins supplied with '()P('. The diagram below illustrates conceptually what we are going to achieve&
2otice that we will be running the signal in parallel to the two F4. Py doing this, we ensure that each effect is processed separately before being mi1ed. This is different, of course from the normal F4 chain, which processes effects seCuentially. %. !. .. /. E. <pen the file A)) 1!roug! 1!e 3ig!".RPP and save it as A)) 1!roug! 1!e 3ig!" 72 *72.rpp For the purpose of this e1ample, we are going to work on only the ,ou-ou%i track. >olo this track. <pen the ,*< window for the ,ou-ou%i track. >et the number of track channels to G then close this window. <pen the F4 window for this track. ,f any F4 are already there, remove them. ,nsert the F4 J0: Gui"ar :is"or"ion. To start with, make the various control settings similar to that shown here.
G.
ake sure that input is from Channels % and ! only and output is to Channels . and / only, as shown above.
..G

#. 0. F. 2ow add ReaVerba"e to the F4 Chain for the Pou9ouki. >elect a preset of your choice, then set the <utput to Channels E*G as shown right. 2ow insert the J0: 72#*i+er6A+*C1+0 at the end of your F4 chain for the Pou9ouki track.
%". Play the song and e1periment with the volume levels and pan settings for your different channels. (1periment with changes also to the F4 settings. %%. >ave the file when finished. <f course, this is only a simple e1ample. Nou could in effect have up to four separate F4 chains running in parallel within this track. )nd itJs very easy then to move an F4 from one chain to another, 3ust by changing its output channels.
The 72 series of $esusonic plug5ins have been developed by Philip >. Considine. , am indebted to Philip for his help in developing this e1ample. For more information about any plug5in, including Terms of 7sage, insert the plug5in into any track F4 window, then click on the Edi" button. Pe careful not to make any changes though:
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1@.1 *ore Para))e) F2 Processing
The e1ample you have 3ust considered demonstrates Parallel F4 processing at its simplest. Py e1perimenting with this feature, you can really contour your sounds e1actly as you need to. Nou could for e1ample, add more plug5ins to your chains, and*or use more than G channels. Channels % and !& Dry A the original signal, unprocessed. Channels . and /& Distortion then Compression. Channels E and G& (@ then 'everb. )ll three streams then get mi1ed back together using the Channel i1er Plug5in.
1@.11 '"!er /!anne) Rou"ing P)ugCins E'vervie$F

The list of $esusonic and Cockos plug5ins for '()P(' is an impressive one, and one that is still steadily growing. The following table provides an overview of some of the other channel routing plug5ins that are currently available. Nou should always check the web sites and the forums for the latest information. This section introduces you to some plug5ins that are specifically designed for use in a multi5channel routing environment. The information shown below has been e1tracted from the te1t files supplied with these plug5ins by their author, Philip >. Considine. <bviously, the plug5ins listed below can only be used on tracks which have more than one defined pair of channels.
P)ugCin
72 *i+er6A+0C1+0
:escrip"ion
This channel mi1ing utility mi1es up to four input pairs into a single stereo pair, output on channels %U!. (ach pair of inputs has a slider to control the amount of the input that will be mi1ed into the output.
72 0$i"c!er
This is a channel switching utility. The <utput >ource parameter is used to select which one of up to four paired inputs channel is to be monitored. 7seful for )*P comparisons. This is a variation of the >witcher switching utility. The <utput >ource parameter is used to select which one of up to four paired inputs channel is to be monitored, and the Revel faders allow you to ad3ust the gain independently for each pair. 7seful for )*P comparisons. This crossfade utility allows you to feed up to four input pairs to two busses then mi1 those busses to output channels %U!. The destination for each of the four paired inputs can be set to <ff, ), P, or )UP.
72 0$i"c!er 2
72 0$i"c!*i+
72 P!aseAd5us"ingRou"er
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 e1ample, a signal received from inputs %U! and output on .U/ will still be present in its original form at outputs %U!. The ,nput parameter is used to select which paired channels are used for the input. The Phase ode can be set to 2o Change, ,nvert Reft Channel <nly, ,nvert 'ight Channel <nly or ,nvert Poth Channels. The output parameter selects the output channels.
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1@.12 0urround *i+ing
'()P('Js fle1ible channel routing opens any number of avenues for you. The diagram below illustrates one way that you could set up a pro3ect template ready for >urround i1ing, in this case using E.%. This diagram represents the following setup& Four special tracks have been set up to act as >urround Pusses. (ach of these tracks is defined as having 0 channels. >ends are established from every other track ;or perhaps folder? to each of these busses. )ll receives to the Front R*' bus are thru channels .*/, all receives to the 'ear R*' bus are thru channels E*G, and so on. )ll tracks and the four special busses have their output directed to the aster Track. )ssuming that you have a soundcard with sufficient audio outputs, all si1 speakers are physically connected to one each of si1 of your audio outputs. The aster is set up as an eight channel aster, with outputs routed to the various speakers as shown right. i1es for the various output can be controlled using the 'outing windows of the four special bus tracks. 'elative overall output levels to each and all of the speakers can be controlled from the aster TrackJs output window, shown right. F4 and plug5ins within the aster Track can now be assigned to any or all of your various hardware outputs. This is one e1ample of where being able to rename the F4 instance can be helpful. Nou can still create a separate stereo mi1 if you wish, in this e1ample using Channels % and ! for this purpose.
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1@.13 REAPERIs Rou"ing 7n"erface
,f you are using '()P(' in such a way as reCuires the use of multiple track channels, sends and receives ;as do many of the e1amples in this section?, then there can be considerable workflow benefits in keeping the 'outing atri1 in view. Nou can use your routing matri1 to make ad3ustments to any of your sends and receives, or to specify the number of channels reCuired for any track. >ome e1amples are summarised below. 'ight click over any track name ;as shown right? to display the TrackJs 'outing Bindow and change the number of Track Channels, or to ad3ust the parameters of any >end or 'eceive associated with that track. 'ight click over the >end*'eceive signal at any intersection on the 'outing atri1 to ad3ust any of the parameters for that >end or 'eceive ;as shown below right?. Click over any vacant intersection on the 'outing atri1 to create a >end*'eceive at that point. ,n addition, you can create >ends and 'eceives from the Track Control Panel in the Track Tiew, o"r the i1er Control Panel in i1er Tiew. ,n either case, you can click on any trackJs 7#' button to display that trackJs 'outing Bindow, or right5click over the 7#' button and use the flyout menu to easily add a >end or 'eceive.
2otice also that the three different types of send are represented in the 'outing atri1 by three different symbols, as shown left. )s shown, from top to bottom these are Pre Fader EPos" F2F, Pos" Fader EPos" PanF, and Pre F2. ,n each case, the height of the large thick bar indicates the send level. 1ip: To create sends from several different tracks to one other track ;such as an F4 Pus?, simply select all of the tracks in the Track Control Panel, then right click over the 7#' button for any of the selected tracks and add the send there. by selecting the destination track from the flyout menu.
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1A C Para&e"er *odu)a"ion 1A Para&e"er *odu)a"ion

1A.1 1!e /oncep"
Parameter modulation is a techniCue which takes '()P('Js routing, channel splitting and sidechaining capabilities to e1traordinary new levels. Nou should probably not attempt this chapter unless you already have a sound grasp of these concepts. ,f necessary, turn back to the chapter *ore REAPER Rou"ing E+a&p)es and work thru it again. Parameter modulation at its simplest means using the volume level on one track to control the behavior of one or more F4 parameters on the same track or a different track or number of tracks. DonJt worry if this doesnJt Cuite make sense yet. The concepts of what this is and how it works will become clearer after you have worked thru some e1amples. <ne simple e1ample might relate to the application of a chorus plug5in to a guitar or bou9ouki track. >uppose that we wish to vary the wet*dry balance of the chorus throughout the track. Be could, of course, accomplish this with the use of automation envelopes. Qowever, this might involve Cuite a lot of work. 2ow take this idea a step further. >uppose that we wish to define a relationship between the instrumentJs volume and the wet*dry mi1, so that as the volume increases the mi1 becomes drier, and vice versa. 'ather than have to create a series of envelopes for our chorus plug5in, we can use parameter modulation to ensure that these parameters will respond automatically to changes in volume. ,ncidentally, this particular e1ample can create an interesting effect of space and distance on the instrument, but as with the other e1amples in this chapter, that is not the main point of the e1ercise. The main point is to show you how parameter modulation is set up and used. ,tJs then up to you to use and apply it in ways that you find appropriate for your own mi1es.
1A.2
1!e 7n"erface
,llustrated below is an e1ample of the Parameter odulation window. The table below that e1plains the main settings, what they do and how they are used. Be will then go on to work thru some e1amples to show you how parameter modulation can be used.
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7"e&
Enab)e para&e"er &odu)a"ion9 base)ine va)ue
:escrip"ion
This sets a default value for the specified parameter that is to be modified. Qowever, if an automation envelope e1ists for the same parameter then that envelope will determine the baseline and this setting will be ignored. This specifies which audio channel;s? A for e1ample, %*! or .*/ A contain the audio signal that is used to control the specified parameter. 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. >etting a low attack speed will cause the parameter modulation to respond rapidly to changes in volume in the source audio channel, a higher speed will cause a greater delay to occur. ) low release speed will cause the modulation to be ad3usted rapidly as the volume then falls. ) higher speed will hold the modulation for a longer period before doing so. Denerally 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.
0ource audio c!anne) A""ac% and Re)ease
0"reng"! and :irec"ion
These determine the nature and the intensity of the relationship between the incoming audio signal and the parameter being controlled. For e1ample, set to %""O positive as the incoming audio signal increases and decreases, so will the parameter being controlled. )t E"O, the relationship will still be positive, but more moderate. ) setting of %""O negative means that as the incoming audio signal increases, the parameter being controlled will decrease, and vice versa. )t E"O, the relationship will still be negative, but more moderate. )t "O, the effect will be completely neutral.
BF' 7npu" d,
These settings can be used to modify the parameter modulation using an RF< shape such as sine, sCuare or triangle. This determines the dP range within which the incoming audio signal will be applied to the parameter being controlled. The lower the minimum and the higher the ma1imum threshold setting, the more often and the longer the parameter control will be applied.
Audio /on"ro) 0!aping 0igna) Grap!
This graphical control helps shape the behavior of the parameter that is being modified.. For e1ample, if the direction is set to positive, then pulling the small red handle ;in the centre of the diagonal line? on the graph fully to the bottom right corner will result 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 line? on the graph fully to the top left corner will result in greater increases in the value of the parameter being modified.
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1A C Para&e"er *odu)a"ion
1A.3 :efining a Para&e"er for *odifica"ion
To select an F4 parameter to be modified, follow either of these seCuences.& %. Displaying the trackJs Enve)opes#Au"o&a"ion window and click on the R for any plug5in to display the list of its controls. Click on the *od button for any parameter that you wish to have modified by an audio signal. Nou will then see a small check bo1 ne1t to the *od te1t for that item in the (nvelopes window ;as shown right?. Close the (nvelopes*)utomation window. <pen the plug5inJs F4 window. Bith the mouse, click on the control for the parameter that you wish to modulate. Click on the Para& button in the plug5in window, then choose Para&e"er &odu)a"ion from the menub that is then displayed.
!.
..
<r&
%. !. ..
1A.>
/on"ro))ing an F2 Para&e"er on "!e 0a&e 1rac%
,n this first e1ample, we will insert a plug5in such as chorus into a trackJs F4 chain, then use that trackJs audio signal to control the way that plug5in behaves.
E+a&p)e
%. !. <pen the file A)) 1!roug! 1!e 3ig!" and save it as A)) 1!roug! 1!e 3ig!" *':1. >olo the ,ou-ou%i track. For the purpose of this e1ample, this is the only track that is needed.
.. /. E.
Pan the track dead centre and lower its volume a little, as shown above. ,nsert the J0: 0s"i))$e))#c!orus6s"ereo plug5in into this trackJs F4 chain, and set the various parameters as shown here. Click on the $e" &i+ Ed,F fader in this plug5in. Click on the Para& button, then choose Para&e"er *odu)a"ion from the menu ;see right?. This will open a parameter modulation window for the wet mi1.
G.
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#. >tart and stop play. This is sometimes necessary to activate the parameter modulation. 2ow e1periment with sliding the baseline value fader left and right. )s you do so, you will see the $e" &i+ fader in the Chorus plug5in window will be faded down and up. Bhen you have finished, restore it to about G; d,. >et the various items in the Para&e"er *odu)a"ion window as shown below and play the track. Nou should notice the $e" &i+ element of the chorus being faded down for louder notes and passages and back up for Cuieter notes and passages. 2ow e1periment: Nou should find that& oving the A""ac% and Re)ease faders left will result in the wet mi1 chorus fader movements becoming more 3erky. oving them right should make them smoother. oving the 0"reng"! fader ;negative? above "O will cause the wet mi1 chorus fader to be faded up for louder notes and down for Cuieter ones. >electing positive reverses this. oving the 7npu" d, fader left will lower the threshold at which the parameter modulation is applied. oving it right will raise the threshold.
0.
F.
%". Bhen you have finished e1perimenting, restore the settings to those shown here.
%%. This instrument becomes louder as the song progresses. Py the end, there is very little chorus being applied to the bou9ouki. %!. 2ow play the song again. Drag hold of the handle on the graph, and use your mouse to drag it to the lower right position ;shown on the right?. 2otice that the movements of the wet mi1 fader now become restricted to a more modest range. %.. 2ow drag hold of the handle on the graph, and use your mouse to drag it towards the top left corner of the graph. 2otice that the movements of the wet mi1 fader now become e1aggerated. %/. 'estore the graph to its original position when you have finished.. %E. >ave and close the file.
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1A.? :yna&ic /o&pression
,n this ne1t e1ample, you will use parameter modulation to dynamically ad3ust the settings to compress a vocal track in such a way that the threshold will automatically be lowered during the louder passages. This gives you a more precise control over the compressorJs operation than would otherwise be possible.
E+a&p)e
%. !. <pen the file A)) 1!roug! 1!e 3ig!" and save it as A)) 1!roug! 1!e 3ig!" *':1A. ,n the Track Control Panel, set volume and panning levels for the various tracks and the aster similar to that shown on the right. ,nsert an instance of Rea/o&p into the F4 Chain for the Vo+ track. >et the 1!res!o)d to about A%G or A%# and the Ra"io somewhere in the range from .&% to /&%. >et 8nee si9e to around %EdP. >et the (e" gain to about U%.EdP. )s you play the song, ad3ust the settings to suit. <ne possible set of suitable parameter values is shown below. 2otice as you play the track that during the louder vocal passages ;near the end especially? the compressor doesnJt do Cuite enough. This is where we can use the trackJs own volume level to control some parameters. ,n this e1ample, 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 Threshold fader. Click the Para& button for this plug5 in.
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E. G. #.
0. F.
%". From the menu, then choose Para&e"er *odu)a"ion. %%. >tudy the suggested settings shown below and ad3ust your settings accordingly as you play the song. %!. 2otice in particular how the attack and release setting levels, the shape of the curve and the ,nput dP settings all help prevent the threshold from being ad3usted too radically. %.. This is an e1cellent e1ample for learning how the various Parameter odulation controls work. Pe prepared to e1periment with these settings to see if you can produce a better outcome.
./E
%/. >ave and close the file when finished. 3o"e: Bhen you are using Parameter odulation you should be prepared to tweak the various parameters carefully. >ometimes even the slightest change to a parameter value can significantly change the result.
1A.=
,ypass *ode
Bhenever you create a parameter modulation window, a small bo1 is added ne1t 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 ignored? as you wish. ,n the e1ample shown on the right, parameter modulation settings e1ist for both the Threshold ;Thresh? and 'atio parameters. Nou can see that the Thresh modulation is currently enabled, but the 'atio modulation has been set to bypass. ,n addition& Clicking on the *od button for an item where parameter modulation already e1ists will cause that window to be opened so that you can view and*or edit the settings. To delete a parameter modulation window altogether, simply set its 0ource audio c!anne) to disab)ed and close the window.
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1A.@ 3E(4 Using Para&e"er *odu)a"ion $i"! an Enve)ope
Bhen 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. Bhen this happens, the baseline value that is actually applied will itself vary ;according to the envelope? throughout the song.
)n e1ample is shown above. Qere we have added an envelope to control the Ra"io setting of the compressor. Py clicking the P* button in the envelope lane we are able to open the Parameter odulation window and take the necessary steps to ensure that the ratio setting will respond automatically to changes in the strength of the audio signal on this track. ,n this e1ample, because the envelope is lifted at appro1imately the position of the plat cursor, the baseline value of the parameter being modulated will also be lifted.
1A.A
/on"ro))ing F2 Para&e"ers on a :ifferen" 1rac%
This ne1t e1ample is slightly more comple1 than the previous two e1amples. ,n this case, we will use the audio signal from one track ;a vocal track? to shape the sound of an instrument submi1 ;that is, a folder track containing several instruments?. This will be done in such a way as to cause the instruments to appear to pull back slightly during the vocal passages.
E+a&p)e
%. <pen the file A)) 1!roug! 1!e 3ig!" and save it as A)) 1!roug! 1!e 3ig!" *':2. There are a number of preparatory steps that need to be taken to set this pro3ect up. ,mmediately below the Vo+ track, create a new track and name this track 7ns"ru&en"s. ake this a track folder and enclose the guitar and bou9ouki tracks within this folder. )d3ust the volume and pan faders for the various tracks as shown on the right, aster and
!.
.. /.
)dd an instance of Rea/o&p to the Pou9ouki track. This is needed only because the volume of this instrument increases Cuite significantly as the song progresses. Be wish to pull this back a little. >et a threshold of around A%EdP and a ratio of around %"&%. This will ensure that the track is only slightly compressed for most of the song and more severely compressed near the end.
E.
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G. #. >elect the ,nstruments folder and display its 'outing window. >et the number of channels to / and add a receive from channels %*! of the To1 track to channels .*/ of the ,nstruments folder. <pen the F4 Bindow for the ,nstruments folder and add an instance of ReaES. ake sure that your settings include a freCuency type Pand at about ."" Q9 with a bandwidth of about %."" and a freCuency type Pand at about /,""" Q9 also with a bandwidth of about %."". ,n the e1ample shown below, these are bands ! and /. Be are going to use the audio signal from the To1 track to control the gain on both of these bands. 0. F. ake sure that for now the gain settings for all bands is set at ".". Be are now going to use parameter modulation to ensure that audio signal from the vocal track drives down the gain level of the instrument mi1 for bands ! and /. This will have the effect of helping the vocal to 3ust float over the instruments a little.
%". <pen the (nvelopes * )utomation window for the 7ns"ru&en"s folder. Click on the od button for 2 E,andF Gain. Py then setting the 0ource audio c!anne) to channels .*/ we will ensure that the gain level for Pand ! is controlled by the incoming signal from the vocal track. ) suggested set of values for the various items is shown below.
%%. 2ow create another Parameter odulation window, this time for > E,andF Gain and start with settings similar to those used for band ! gain. 2ow e1periment, especially with the shape of the signal shaping curve and see how it changes the way the band / gain level on the (@ responds to changes in the audio signal8s strength. %!. )s you play the song, you should be able to see the changes being made to the (@ levels. The gain in bands ! and / should vary between about "dP and A.dP. ,f you wish, tweak the freCuency and bandwidth setting for bands ! and / to see where this modulation is at its most effective. %.. Nou may need to make an ad3ustment to the volume on the To1 track, possibly adding dynamic compression to this track, in order to get the best results. %/. >ave the file when finished.
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1A.; Fur"!er App)ica"ions
This chapter has introduced you to 3ust a few basic e1amples to help you understand what '()P('Js parameter modulation is and how it can be used. ,n doing so we have barely scratched the surface. Qere are some other points to keep in mind& Bith parameter modulation, the signal from any track can be used to control parameters on any other. For e1ample, the signal from an audio track can be used to control parameters on a synthesi9er, and synthesi9erJs output can be used to control signals on an audio track. ,f you are familiar with working with synthesi9ers and low freCuency oscillators, you may have developed an understanding of different types of waveforms such as sine, sCuare and triangle. Nou can use these RF< shapes in your parameter modulation. <ther applications for parameter modulation are limited only by your needs, your creativity and your imagination. For e1ample, with this techniCue you are able to use the audio signal from one track ;or group of tracks? to control specific parameters on a noise gate on another track ;or tracks?.
1ip: Nour parameter modulation windows and their settings will automatically be saved with any F4 chains and*or track templates that you create.
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1; C 3E(4 REAPERDs Preferences and '"!er 0e""ings 1; 3E(4 REAPERDs Preferences and '"!er 0e""ings
)t several places in this 7ser Duide we have encountered circumstances where the use of preferences and settings is important. ,n this chapter, you will learn other ways in which you can use '()P('Js preferences and other settings to tailor the program more closely to your particular reCuirements. ,n many cases, youJll probably be perfectly happy to leave the program settings as they are and 3ust let it run. ThatJs fine too.
1;.1
Audio /onfigura"ion
BeJve already mentioned the Audio :evice screen ;in the Preferences window?, but itJs worth having another look at this topic. Two important issues in the digital audio world concern buffers and )a"ency. 7nderstanding what these terms mean will help you in obtaining the optimum settings for your system. Detting buffer si9e right is essential if you are to get the best performance from your audio interface. them too small and you8ll get audio clicks and pops_ make them too large you8ll notice delays in your headphones when youJre input monitoring, especially with software synthesi9ers. ake
The goal is to achieve the lowest possible latency without e1periencing dropouts. The optimum setting depends on a number of things, not least of which are the audio interface ;PC, sound card, firewire or 7>P device? that you are using, your PCJs characteristics, as well as which software youJre running. The use of plug5ins can also increase latency, some more than others. Consider what happens when you are working at your D)B. )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. Bhen you record the reverse happens A the incoming analog audio stream has to be converted to a digital format so that it can be stored on your hard disk. Bhen 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. Ratency 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.? )s if this wasnJt complicated enough, remember that Bindows is performing all sorts of other tasks at the same time as you are recording. ,f you donJt believe this, 3ust bring up Task anager some time, check the Processes page and have a look. ThatJs what we mean by &u)"i"as%ing. >o how is Bindows able to keep up with its other FF 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, Bindows hands over to your sound card a block of audio that the sound card releases at a steady rate to your e1ternal amplifier. ,f it empties these buffers before Bindows gets round to handing it some more, then youJve got a problem. The same principle applies, but in the reverse direction, when youJre recording. )nd again, when youJre layering or overdubbing, or using '()P('Js input monitoring, both activities are going on at the same time. ,f the buffers are too small, youJll get gaps in the audio stream. These can lead to pops, crackles and in some cases even dropouts ;thatJs when playback and*or recording 3ust stops suddenly and une1pectedly?. aking buffers larger is usually enough to fi1 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. ThatJs when you e1perience unacceptably large latency, such as the delay between pressing a keyboard and hearing the note in your headphones.
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)>,< drivers generally offer better latency than do others. )s a rule, the preferred order is )>,<, BD , Direct4 and (, in that order. This is where the A07' /onfigura"ion button on the Audio :evice screen is so important ;assuming, of course that you are using )>,< drivers?. This button gives you access to the software that controls your sound cardJs settings and behavior. The illustration below is an e1ample of this, using 5)udioJs Delta %"%" as an e1ample. ,n that e1ample, clicking on the A07' /onfigura"ion button on the first screen has caused the second screen to be displayed. <f course, e1actly what you see will depend on which sound card you are using. Nou should consult the documentation supplied with your sound card for further information and instructions. ThereJs one more issue here that reCuires e1planation, and itJs an important one. 1!e s&a))er "!e buffer si-e9 "!e grea"er "!e )oad on your co&pu"erIs /PU. >o after making changes to your buffer si9e, check the CP7 usage on '()P('Js Performance eter. Nou can use this fact to your advantage when mi1ing. )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 CP7 close to its limits, you will often be able to fi1 this by accessing your audio cardJs control software and increasing the buffer si9e. Finally. $ust a word about 0a&p)e Ra"e. This also affects CP7 usage. Doing from //%""" to 00!"" doubles CP7 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 //%"" or at 00!"". Test this out for yourself and see what you think.
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1; C 3E(4 REAPERDs Preferences and '"!er 0e""ings

1;.2 /us"o&ising Audio ,uffering Preferences
Bhile we8re looking at optimising audio, the Audio ,uffering page of the Preferences window contain a number of customisation options. The option to :isab)e &edia buffering for "rac%s "!a" are se)ec"ed can be useful if you are using a third party plug5in 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. 0ync!ronous F2 &u)"iprocessing only matters on multiprocessor systems. ,f enabled it allows all tracks ;record armed or not? to have F4 processed by multiple CP7s. )lthough a useful option, it will not produce miracles for you. This is in part because synchroni9ing multiple CP7s has its own overhead, and in part because it cannot do a perfect 3ob of balancing the load. )lso, it can have a slight negative effect at smallest audio latencies. An"icipa"ive F2 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 plug5ins that do larger block5based processing, such as 'eaTerb and 'eaFir?. <n multiprocessor*multicore systems it also allows for very significant multiprocessor usage. (nabling this feature may allow improved latency. 2otice also that clicking on the Advanced :is% 7#' 'p"ions button brings up the selection of options shown on the right. ,f unsure about what you are doing, it8s 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 pro3ect file.
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1;.3 /us"o&ising Pro5ec" :efau)"s
The Pro5ec" :efau)"s page of the 'p"ions9 Preferences window ;shown above? includes a number of areas in which you can specify default settings for your '()P(' pro3ects. Qere is a summary of some of the most useful options& >elect your preferred default item fade shape and length. >pecify whether or not you wish to automatically create cross fades for overlapping media items in the same track. Determine whether imported media items should be automatically regarded as loop sources >pecify a default gain value for track volume faders. Determine whether or not to have track Tolume and*or Pan envelopes automatically visible. >pecify whether or not you would like free item positioning enabled for tracks by default. >pecify default envelope point shape. >pecify default automation mode for envelopes. >pecify default track height for new pro3ects. >pecify whether new tracks should by default be armed for recording. >et default gain level for sends and hardware outputs. >elect your preferred default output mode for track sends and receives. Determine whether or not audio and*or ,D, are by default sent by sends.
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1;.> /us"o&ising Edi"ing ,e!avior Preferences
The Edi"ing ,e!avior page of the 'p"ions9 Preferences window ;shown above? includes a number of areas in which you can specify default settings which will affect how you work when editing your '()P(' pro3ects. Qere is a summary of some of the most useful options& Nou can specify the Tolume Fader 'ange. Default settings are A#!dP to U!/ dP. Nou can specify the pan fader unit display range ;default is %""O R to %""O '?. Nou can specify your edi" cursor be!avior, in particular to specify which of the following actions should cause the edit cursor to be moved& Click on media item Changing time selection Pasting or inserting media >topping recording Nou can allow shift click*control click to override your move edit cursor assignments. Nou can set the tab to transient sensitivity. Nou can specify your preferred 9oom behavior as follows& Ver"ica) -oo&& Track at centre of view, Top Tisible Track, Rast >elected Track or Track 7nder <ori-on"a) -oo&& (dit or play cursor, (dit cursor only, Centre of view or ouse cursor. ouse Cursor.
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1;.? /us"o&i-ing Enve)ope ,e!avior
Nou can specify various envelope editing options, including& The range within which volume envelopes can be ad3usted. )utomation recording return speed. Bhether to show new envelopes in their own lanes by default. Bhether to automatically give focus to new envelopes. Bhether to automatically arm*add envelopes when you have write mode enabled and ad3ust any parameters Bhether to apply and reset trim when pan*volume envelopes are added. <ptions are always, never, and in read*write modes. Bhether to add points you need to click on the envelope or anywhere in its lane. Bhether clicking an envelope segment should ad3ust the segment or add a point. Bhether control drag should be used on envelopes to draw automation or fine tune envelope points. Bhether changing the envelope displayed in any lane should move the previous envelope to the track8s media lane or simply hide the envelope. ether to draw faint peaks in envelope lanes Bhen and how to allow overlapping of envelopes drawn over the medi items.
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1;.= /us"o&ising *ouse ,e!avior
The *ouse page of the 'p"ions9 Preferences window ; above? includes a number of ways in which you can specify how you would like your mouse to behave in '()P('. Qere is a summary of some useful options& Bhether your mousewheel acts on the window currently underneath the mouse or on the last window to have focus. Bhether to use or ignore the mousewheel on all faders. Bhether to use or ignore the mousewheel specifically on track panel faders. Bhether to treat a laptop trackpad as a mousewheel. Bhether clicking on track fader or button causes that track to become the currently selected track. Bhether to reCuire a single click or a double click when editing track names. Default behavior with loop selection on timeline& the default is click and drag to select, shift click and drag to move the current loop selection. iddle mouse button behavior& 3og*scrub or scroll. Bhether using marCuee to select a number of items should also change the time selection. Bhether double5clicking on an item causes the item to be set as the current time selection, or loop selection, or whether it opens your selected wave editor to edit that item.
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1;.@ /us"o&ising Appearance
The Appearance settings screens within the Preferences window arenJt as essential as the )udio Device settings, but theyJre more fun to play with. Nour choices here control the way the '()P(' screen appears.
The Appearance screen itself lets you specify various parameters that help determine the appearance of your '()P(' interface, especially the Track Control Panel and i1er. Qere is a summary of some of the options& Bhether to use custom track colors as a background color on track labels ;in TCP and mi1er? and whether tint track panels in TCP and mi1er? with custom track colors. FreCuency ;in ms? for T7 meter updates. range of values displayed in T7 meters. inimum and ma1imum values ;dP? used to determine the
Bhether T7 meters should be shown in track control panels. Bhether sticky clip indicators should be used to retain the red indication at the top of a meter when clipping occurs. )lso whether meter peak indicators should be reset when playback is ne1t started. Bhether to make it visually obvious that track T7 meters are clickable. (nabling this option causes a drop down arrow to be displayed. Bhether to show dP scales and*or ,D, activity on track T7 meters. Bhether to show the last undoable action on the menu bar. Bhether to use track grouping indicators, and if so which ones. Bhether to use tooltips, and if so whether to use tooltip delay. Bhether to apply solid edges to time selection highlights and draw guidelines when editing. Bhether to show faint media peaks and filled envelopes in automation lanes.
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The Appearance *edia Preferences window is used to determine how your edia ,tems will be displayed.
There really are a very large number of options to take into account here. )mongst the most important are_ Bhether peaks are displayed on media items, during and after recording. ,f so, there are a number of options that will decide their appearance, such as whether to use fancy edges. Bhether to not display peaks for tracks when they are unselected, muted or unsoloed. Qow to display waveforms when 9oomed to sample level 5 for e1ample, as filled samples, dots and lines, or stepped samples. Bhether to scale peaks ;that is, ad3ust their height? to allow for the effects of pre F4 pan and volume envelopes when these are used. Bhether to draw edges on ,D, item events. Bhether to display item names and*or media item pitch and playrate settings. ,f displaying these names and settings, whether to show them in a lane above the media items or on top of the media items. Bhich item icons to show. Bhether to tint media item peaks with any custom track color. Bhether to tint media item peaks with any custom item color. Bhether to tint media item backgrounds with any custom track color. Bhether to tint media item backgrounds with any custom item color. Bhether to tint item backgrounds when the item is selected. Bhether to leave a gap of your specified number of pi1els between ad3acent tracks.
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The /o)or 1!e&es screen ;below? has numerous options for controlling your screenJs appearance. Nou can change the colors for any of the items listed under 1!e&e co)or#fon" controls.
,tems for which you can customi9e colors in various ways include& Track Control Panels Track Tiew Packground Track Pane Packgrounds edia ,tems Bindow Packground The Timeline Dridlines (nvelopes The i1er Faders T7 eters The Docker arkers and 'egions The (dit Cursor The ,D, (ditor >creen Fonts
,t8s worth also noting the following& Nou can also select fonts, font si9e and font characteristics to be used for various te1t items, including track names, volume*pan control labels and media item labels. For T7 meters, you will also find on the Theme color*font controls list the option to use interlaced T7 meters. Nou can use the 1!e&e e)e&en" finder to help you identify any of the items in the Theme color*font controls list. Nou can save any changes that you make to a new theme name. Nou cannot save changes to the default theme as such. ,f you wish to save any such changes, save them to a new theme name. Nou can use the Road theme button to import any e1isting theme. '()P(' . themes use a large number of image files, more so than was the case with '()P('8s original earlier themes.
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1;.A /us"o&ising *edia Preferences
edia settings.
The *edia page of the 'p"ions9 Preferences window lets you customi9e your
Qere is a summary of some of the other options that you might find useful. 7"e& *edia 0e""ings Purpose (!en inser"ing &u)"ip)e &edia i"e&s& Nou can choose whether the default behavior should be to insert as separate tracks, to insert seCuentially in a single track, for '()P(' to determine which appears the more appropriate, or whether you wish to be prompted each time. /opy inser"ed &edia i"e&s "o pro5ec" &edia direc"ory& Bhen enabled, this ensures that a copy of any media items inserted into a pro3ect will be made and stored in the pro3ect directory. This helps you to keep together all those files that belong together. (avefor& &edia pea% cac!e se""ings Genera"e pea% cac!es& Nou can determine the circumstances in which you want peak caches to be generated. :esired cac!e reso)u"ion& Determines the degree of precision used for media peaks. *edia i"e& se""ings Use re)a"ive edi"ing $!en resi-ing i"e& )ef"#rig!" edges& Qolding Ctrl and )lt when fade dragging will ad3ust fades according to your edge option setting. :up)ica"e "a%e F2 $!en sp)i""ing& Determines whether any e1isting F4 in an item8s F4 chain are automatically copied to new items that are created when the original item is split.
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1;.; /us"o& U7 1$ea%s
The Genera) page of the 'p"ions9 Preferences window includes an Advanced U7#0ys"e& "$ea%s button which enables you to further customise '()P('Js on5screen appearance. Clicking on this button displays a number of options including& /us"o& 0p)as! 0creen A )ny .P P or .P2D file. Use )arge $indo$ fra&es for windows. 0ca)e U7 E)e&en"s ;such as buttons on toolbars?. 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. >elect this option if you want track routing and envelope windows not to be closed automatically when they use focus. Advanced &u)"iprocessing "$ea%s. These options help determine the way '()P(' behaves on a system with two or more processors.
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/us"o&ising V01 P)ugC7n ,e!avior
Nou have already seen ;in Chapter %? how to tell '()P(' the location of your T>T plugins, and how to ensure that these are enabled. ,n addition, the V01 screen ;under P)ugCins within the Preferences window? offers a number of further options for controlling the behavior of your T>T plug5ins. ,n particular, note the following. Nour preferences, especially in the category V01 co&pa"ibi)i"y op"ions are likely to depend on which plug5ins you are using. Nou may need to e1periment to get the best results. <ne useful option worth mentioning is :efau)" V01 configura"ion $indo$s "o generic U7. This can be used to ensure a consistency of interface for all T>T plug5ins which may not look as superficially attractive but may be easier to read and use. '()P('8s default 7, will be used instead of each plug5in8s native interface. (ven with this option enabled, you can still switch to any plug5in8s native interface by clicking on the 7, button in the plug5in8s window.
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1;.11 /us"o&ising P)ugC7ns 7n"erface and ,e!avior
The P)ugC7ns page of the 'p"ions9 Preferences window gives you a number of really useful options to control the way your plug5ins interface and behave within '()P('. )mong your options are the following& To automatically resi9e the F4 window to suit the currently selected plug5in in that window. This does not apply when the F4 Bindow is docked. To ensure that any selected floating window is set in the foreground. To automatically float ;or not? new F4 Bindows. To automatically dock new F4 chain windows. To ensure that the )dd F4 Dialog Po1 is automatically opened when you open an F4 Bindow that has not yet had any plug5ins added into it. To only allow one F4 Bindow open at a time.
Py selecting all three options shown ;right? you can ensure that one F4 window is kept open ;docked or otherwise?, and that that window will always show the F4 Bindow for
whatever track is currently selected in the Track Control Panel.
1ip: This can be especially useful when you have the same F4 ;e.g. (@? inserted in several tracks, and you want to make sure that the (@ you are tweaking really is the (@ for the currently selected track.
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1;.12 Fur"!er /us"o&ising P)aybac% ,e!avior
Pasic control of playback behavior has already been covered earlier in this guide. ,n addition, the Audio9 P)aybac% page of the 'p"ions9 Preferences window lets you set a number of further options ;see below?.
)mongst the most important and useful options that you will find on this page are& Bhether or not to stop*repeat playback at the end of pro3ects. Bhether to stop playback at the end of a time selection if repeat is disabled. Bhether to seek playback ;repositioning the play cursor? when clicking on any combination of& the top ruler empty areas of tracks, and empty areas below tracks.
Bhether to seek playback when loop points are changed. Bhether to scroll the view to the edit cursor position when playback is stopped. Bhether to autoscroll when viewing other parts of a pro3ect. Bhether to run F4 after playback is stopped& this can be good for evaluating the 6after effect6 of delay based plug5ins such as reverb and chorus. Bhether to enable scrubbing and 3ogging, and if so what options to apply in its omplementation ;such as limiting 3og speed?.
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1;.13 Pro5ec" and Fi)e *anage&en"
Nou have already seen that when you save a '()P(' pro3ect file you have the option to create a subdirectory for that pro3ect, and to copy, move and store all of the pro3ectJs media files into that directory. aking use of this option will make it easier for you to keep track of your work. Qowever, you will most likely find that as a pro3ect evolves, it will accumulate any number of media items, such as re3ected tracks and overdubs, or deleted items that are no longer reCuired. Nou can easily remove these unwanted items, using the command Fi)e9 /)ean /urren" Pro5ec" :irec"ory. The location of the current pro3ect folder is displayed 3ust below the Pro3ect Directory Cleanup title bar. ,f you wish, you can click on the (1plore button to e1plore the folderJs entire contents. 2otice, however, that all the files present in the pro3ect directory but not belonging to the current pro3ect are listed in the Pro3ect Directory Cleanup window. To select any one file, 3ust click on its name. To build a selection, hold the /"r) key while you click on each reCuired file name. To select all files in the list, click first on the first file name then, holding the 0!if" key, click on the last name in the list. Nou then have the option to either delete these files permanently from your hard drive, or to send them to the Bindows 'ecycle Pin ;as shown here?. )fter making your selection, click on the Re&ove 0e)ec"ed Fi)es button to remove them. DonJt forget also to bac%up your work regularly, to a flash drive, e1ternal hard disk, CD or DTD, or better still, more than one of these. The easiest way to back pro3ects up is to simply use the Bindows file management system.
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/us"o&ising "!e 1i&e :isp)ay
To set your preferred units for display on the ruler, right click over the ruler and choose any of the available options from the conte1t menu A for e1ample inutes&>econds, easures&Peats, >amples, etc.. Nour ruler display settings are applied on a per pro3ect basis, whereas by default the Pig Clock setting is global. Qowever, by selecting for the Pig Clock the option to Use ru)er "i&e uni" you can effectively ensure that the Pig Clock time display is also determined on a per pro3ect basis.
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1;.1? /us"o&ising 1rac% 0o)o ,e!avior
,f you are taking anything like full advantage of '()P('Js routing capabilities, you can run into difficulties with track soloing. Py default, when you a solo a track that is routed to perhaps several other tracks ;directly and indirectly?, you will hear the output of these sends as well as the original track by itself. This is called in place solo. ,t might not always be what you want. 7nder 'p"ions9 Preferences9 Audio you can deselect the option 0o)os defau)" "o inCp)ace so)o. This means that when you solo a track, you will hear 3ust that track by itself, without its entire routing. ,f you change this default, at any time and for any track you can temporarily over5write this. To solo any track in5place, hold the A)" key as you click the trackJs >olo button.
1;.1= /us"o&ising "!e Perfor&ance *e"er

Nou can customise the information shown on the performance meter, making your selections from its conte1t menu ;see right?. )mongst the items that can be displayed or hidden are& CP7 Draph CP7 7se Disk 7se ') 7se Free >ystem ') F4 CP7 use The Performance undocked. eter can also be docked or
3o"e& The 'T ;6'eal Time6? CP7 meter measures the amount of CP7 time used by the audio thread servicing the sound device. >ince it is measuring a single thread, it reflects only the CP7 time used by one core, and gives you an indication of how much leeway you have in processing. ,f you have anticipative F4 enabled ;and few tracks record armed?, 'T CP7 will generally be pretty low, as most things should be done asynchronously, allowing the real time thread to Cuickly put things together.
1;.1@ /us"o&ising 1rac% :efau)" 0e""ings

Track default settings can be customised on the Pro5ec" :efau)"s page of the 'p"ions9 Preferences window. )mongst other things, here you can specify& Bhether new tracks are automatically shown in the mi1er. Default automation mode and whether envelopes are armed by default. Bhether new tracks are automatically armed for recording, with or without input monitoring. Default 'ecord mode. Default track send behavior.
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1;.1A /us"o&ising Undo <is"ory ,e!avior
Three important features of '()P(' that enable you to customise your 7ndo Qistory behavior are& >ave 7ndo Qistory with pro3ect files. )llow load of 7ndo Qistory. >tore multiple redo paths where possible.
)ll of these features can be selected from the Undo 0e""ings section of the 'p"ions9 Preferences9 Genera) screen ;shown above?. ,f you enable the option to 0"ore &u)"ip)e redo pa"!s $!ere possib)e then during your current work session, any time you use the 7ndo Qistory 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 e1ample is shown on the right. The highlighted action Add F2 "o /!ain is flagged with EM2F. This means that in addition to the original set of actions, two more undo history paths e1ist where twice we have gone back to that point. Py right5 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 0ave undo !is"ory $i"! pro5ec" fi)es and A))o$ )oad of undo !is"ory, then this undo history will still be available to you ne1t time you use this pro3ect file, even if you have since closed '()P(' and shut down your computer.
1;.1; 0o&e '"!er REAPER 'p"ions

The following are items that appear on the '()P(' 'p"ions menu that are not adeCuately covered in detail elsewhere in this 7ser Duide.
Enab)e snapping
This option will toggle snapping to the grid. ,tems will snap to the specified grid locations. That is to say that they will snap to the grid lines. The amount of 8snap8 will depend on the resolution that you specify in the snap settings. ,f you turn this off, items will move free of the grid and will not snap to the lines. >napping behavior is determined by the 0nap#Grid 0e""ings ;see right?. This includes the option to use 0&oo"! 0ee%. Bith this option enabled, seeking is totally changed, especially for pro3ects aligned to the grid. ,f you want to 3ump from one part of the time line to
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another without playing in between those parts then enable this, and go to the measure you want to hear ne1t. ,t wonJt move there right away, but after the measure you are on is over. Then it will smoothly go to the later part making a seamless transition. ,t will smoothly seek the ne1t part, without pausing. This can be handy for trying different chorus or verse combinations etc. This feature can also be enabled and disabled directly from the 'p"ions menu.
0!o$ grid
This will show the lines of the grid in order to line items up with it. Drid characteristics are determined by your 0nap#Grid 0e""ings.
*ove enve)ope poin"s $i"! &edia i"e&s

,f enabled, this will move the envelopes along with any movement of the items that they are associated with. 2ormally envelopes are statically placed on a track and stay put wherever an item is moved.
Au"o&a"ica))y scro)) vie$ during p)aybac%

During Playback*'ecording when the playback reaches the end of the screen, it will normally move to the ne1t screen over automatically, so that you donJt have to manually follow the play*record point. Qowever, by disabling this option, you can ensure that the media items displayed on the screen when playback is commenced will remain there during playback A the scroll cursor will 3ust disappear off the screen. This can be helpful, for e1ample, if you want to focus on editing a particular passage.
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2 C *ain Rig!"C/)ic% /on"e+" *enus 0u&&ary 2 *ain Rig!"C/)ic% /on"e+" *enus 0u&&ary
,f you8ve got this far then you must have discovered how important right5click conte1t menus are in '()P('. 'ight click 3ust about anywhere and a menu will pop up. That menu will depend on e1actly 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 mi1er and the track control menu will be displayed. 'ight click over a track8s mute button and you8ll get a menu of various mute options. 'ight click over a media item and you8ll get a menu of command and actions used for managing, editing or processing media items. These are 3ust a few e1amples. any of these have already been e1plained in the preceding chapters. There isn8t room here to review every one of '()P('8s right click conte1t menus in detail, but in this section you8ll find a summary of the ma3or ones.
2 .1 1!e 1rac% /on"ro) Pane) /on"e+" *enu
To display this menu, right click over the Track 2ame or 2umber of any track, either in the Track Control Panel or the i1er.
)n e1planation of the commands follows.
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/o&&and 7nser" ne$ "rac% . 7nser" vir"ua) ins"ru&en" on ne$ "rac% . 7nser" "rac% fro& "e&p)a"e 0ave se)ec"ed "rac%s as "rac% "e&p)a"e . Re&ove se)ec"ed "rac%s :up)ica"e se)ec"ed "rac%s /opy se)ec"ed "rac%s "o c)ipboard /o&&en"s ,nserts a new track after the currently selected track. ,nserts and builds T>Ti*D4i on new track. ,nserts a new track based on any e1isting template. >aves all tracks in current selection as a single track template. 'emoves ;deletes? any track or tracks currently selected. Creates a duplicate of any track or tracks currently selected, immediately below the original track. Copies any selected track or tracks to the Bindows clipboard from which it or they can be pasted elsewhere within the current pro3ect or to a different pro3ect. Cuts any selected track or tracks to the Bindows clipboard from which it or they can be pasted elsewhere within the current pro3ect or to a different pro3ect. 'enders any selected tracks to stem tracks. 'enders any selected tracks to mono stem tracks. Toggles free item positioning mode on and off for selected tracks. Toggles display of selected tracks in the track control panel. Toggles display of selected tracks in the mi1er. )ny of these commands can be used to modify the colours of your currently selected tracks, as reCuired.
/u" se)ec"ed "rac%s "o c)ipboard
Render se)ec"ed "rac%s "o s"e& "rac%s Eand bypass origina)sF Render se)ec"ed "rac%s "o &ono s"e& "rac%s Eand bypass origina)sF Enab)e free i"e& posi"ioning for se)ec"ed "rac%s 0!o$ se)ec"ed "rac%s in "rac% )is" 0!o$ se)ec"ed "rac%s in &i+er 0e" "rac% 0e" "rac% 0e" "rac% 0e" "rac% co)ors "o cus"o& co)or. co)ors "o rando& co)or co)ors "o one rando& co)or co)ors "o defau)"
0(0 "rac% co)or ;if >B> e1tensions have been installed? 0e" "rac% icon . Re&ove "rac% icon 0e" a)) "rac%s "o au"o&a"ic record ar& $!en "rac%s se)ec"ed 0e" "i&ebase for se)ec"ed "rac%s 0e" au"o&a"ion &ode for se)ec"ed "rac%s 0e" au"o&a"ion &ode for a)) "rac%s
Displays >B> color management menu. )llows you to select an icon to be displayed with the track. 'emoves previously selected track icon from track. Causes all tracks to be automatically armed when selected, unarmed when deselected. <ffers a sub menu of options for determining the timebase for currently selected tracks. Rets you change the automation mode ;for e1ample, to Brite or 'ead? for all currently selected tracks. Rets you change the automation mode ;for e1ample, to Brite
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2 C *ain Rig!"C/)ic% /on"e+" *enus 0u&&ary

/o&&and /o&&en"s or 'ead? for all tracks. 1rac% perfor&ance op"ions 1rac% grouping para&e"ers . 1rac% grouping enab)ed 0!o$ &as"er in "rac% vie$ 0(0 0naps!o"s ;if >B> e1tensions have been installed? 2ena%ios E+"ensions ;if 4enakios e1tensions have been installed? )llows or disallows anticipative F4 and*or media buffering. odify parameter settings for track groups. (nables*disables track grouping. Toggles on and off the display of the <pens >B> mi1er snapshots menu. <pens 4enakios e1tensions menu. aster in track view.
2 .2 1!e E&p"y 1rac% Bis" Area /on"e+" *enu
This menu is accessed by right5clicking anywhere in the empty area below the track list in the track pane area.
/o&&and 7nser" ne$ "rac% 7nser" vir"ua) ins"ru&en" on ne$ "rac% 7nser" "rac% fro& "e&p)a"e 0!o$ &as"er "rac%
/o&&en"s ,nserts a new track below currently selected track. ,nserts a new track for a T>Ti along with multichannel outputs if reCuired. ,nserts new track from any template you select. Toggles on and off the display of the master track.
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2 .3 1!e 1i&e)ine and Ru)er /on"e+" *enu
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 illustration left?. <ver the blank area above the ruler. <ver the empty background area in the Track Tiew area.
)n e1planation of the menu follows.
/o&&and Re&ove 0e)ec"ion Noo& se)ec"ion 0e" se)ec"ion "o se)ec"ed i"e&s
/o&&en"s Deselects currently selected area. 'emoving the selection does not cause any media items to be deleted. Soom to current selected area akes the selection along the timeline for the whole pro3ect the same as the portion of the timeline covered by the currently selected item or items. (1tends the area of the selection to the ne1t transient. ,nserts marker and opens the )dd current cursor position. arker dialog bo1 at the
E+"end se)ec"ion "o ne+" "ransien" in se)ec"ed i"e&s 7nser" &ar%er . /rea"e region fro& se)ec"ion
Creates a region from the current selection.
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/o&&and 7nser" "i&e signa"ure &ar%er. Re&ove a)) &ar%ers fro& "i&e se)ec"ion 0e" pro5ec" "e&po fro& "i&e se)ec"ion. /rea"e &easure fro& "i&e se)ec"ion Ede"ec" "e&poF . /rea"e &easure fro& "i&e se)ec"ion Ene$ "i&e signa"ureF . /rop pro5ec" "o se)ec"ion 7nser" e&p"y space in se)ec"ion Re&ove con"en"s of se)ec"ion E&oving )a"er i"e&sF Pas"e 0p)i" i"e&s a" cursor 0p)i" i"e&s a" "i&e se)ec"ion /o&&en"s )llows you to insert a time signature marker at the current cursor position. 'emoves all markers from the currently selected area. Creates pro3ect tempo based on current time selection. Creates a new measure from the current time selection using the current tempo. Creates a new measure from the current time selection with a new time signature. Crops all media items in the pro3ect to the current loop selection. ,nserts an empty space eCual to the currently selected area into all tracks in the current pro3ect. (ffectively deletes the currently selected area from the pro3ect, 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. >plits currently selected item or items at the current cursor position. ,f no item is selected, splits all items. >plits currently selected item or items at the start and end of the current loop selection. ,f no item is selected, splits all items. >elects all media items. Copies the selected area of selected items to the clipboard. Copies the selected area as a loop. These si1 options are mutually e1clusive. >elect any one to set the unit of measurement used for ruler display.
0e)ec" A)) /opy se)ec"ed area of se)ec"ed i"e&s /opy )oop of se)ec"ed area of i"e&s *inu"es : 0econds *easures G ,ea"s E*:0 secondaryF *easures G ,ea"s 0econds 0a&p)es <ours : *inu"es : 0econds : Fra&es
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2 .> 1!e *edia 7"e&s /on"e+" *enu
This menu is accessed by right5clicking 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 e1planation of this menu appears below.
/o&&and 7"e& 0e""ings 7"e& Proper"ies. 0ource Proper"ies. Group 1a%e 7"e& processing
/o&&en"s <pens the ,tem >ettings menu. <pens ,tem Properties dialog bo1. <pens >ource Properties dialog bo1. <pens Droup fly out menu, to Droup or 7ngroup selected items, <pens Take submenu. <pens ,tem Processing submenu. This is e1plained separately.
E+"ensions: 7"e&#1a%e 0e)ec"ion
,f you have the 4enakios e1tensions installed, these commands will be added to your menu.
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/o&&and E+"ensions: 7"e&#1a%e *anipu)a"ion 'pen i"e&s in edi"or /o&&en"s ,f you have the 4enakios e1tensions installed, these commands will be added to your menu. <pens a submenu whose commands are used to open the selected item or items ;or copies of these items? with the Bave (ditor of your choice ;specified under <ptions, Preferences, (1ternal (ditors?. <pens the ,tem 2otes window for you to add, delete or edit notes for this item. >ame as notes icon. 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 F4 as new takes. 'everses selected media item or items as a new take. $oins selected media items into one new item. This group of commands offers three options for copying the current selection to the clipboard.
7"e& 3o"es App)y "rac% F2 "o i"e&s as ne$ "a%e App)y "rac% F2 "o i"e&s as ne$ "a%e E&ono ou"pu"F App)y "rac% F2 "o i"e&s as ne$ "a%e E*7:7 'u"pu"F Render i"e&s as ne$ "a%e Reverse i"e&s as ne$ "a%e G)ue se)ec"ed i"e&s /opy se)ec"ed i"e&s /opy se)ec"ed area of se)ec"ed i"e&s /opy )oop of se)ec"ed area of i"e&s /u" se)ec"ed i"e&s /u" se)ec"ed area of se)ec"ed i"e&s Pas"e Re&ove se)ec"ed i"e&s 1ri& i"e&s "o se)ec"ed area 0p)i" i"e&s a" cursor 0p)i" i"e&s a" prior -ero crossing 0p)i" i"e&s a" "i&e se)ec"ion <ea) sp)i"s in se)ec"ed i"e&s
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 and removes them from the pro3ect file. Trims media items to the currently selected area. >plits currently selected items at current cursor position >plits currently selected items at the last 9ero crossings point before the current cursor position. >plits currently selected items at the start and end of the currently selected timeline area. 'emoves splits and 3oins items as one again.
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2 .? 1!e 7"e& 0e""ings /on"e+" *enu
)n overview summary of these commands can be found in the table below.
/o&&and *u"e 7nver" P!ase Boop i"e& source Preserve pi"c! $!en c!anging p)ayra"e P)ay a)) "a%es Boc% i"e& Boop se)ec"ion of i"e& 0e" i"e& "i&ebase 0e" se)ec"ed i"e& co)ors "o cus"o& co)or. 0e" se)ec"ed i"e& co)ors "o rando& co)ors 0e" se)ec"ed i"e& co)ors "o one rando& co)or. 0e" se)ec"ed i"e& co)or "o defau)". 0(0 i"e& co)or
/o&&en"s Toggles these various ,tem Properties parameters. These can also be modified in the ,tem Properties dialog bo1, in addition to which there are icons that can be used for ute and Rock item.
Toggles loop selection status. Four mutually e1clusive options used to set item timebase )llows you to specify color for selected item;s?. >ets all items in selection to a different randomly chosen color. >ets all items in selection to the same randomly chosen color. 'estores color of selected items to the theme default. ,f >B> e1tensions have been installed, displays >B> color management menu.
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2 .= 1!e 7"e& 1a%e /on"e+" *enu
Bhen a track consists of multiple takes, right clicking over a media item in that track and choosing 1a%e from the conte1t menu produces the sub menu shown on the left. )n e1planation of some of these commands is shown in the table below.
/o&&and 3e+" "a%e Previous "a%e :e)e"e ac"ive "a%e /rop "o ac"ive "a%e :up)ica"e ac"ive "a%e 0!o$ F2 c!ain for ac"ive "a%e Re&ove F2 for ac"ive "a%e 1a%e vo)u&e enve)ope 1a%e pan enve)ope 1a%e &u"e enve)ope E+p)ode a)) "a%es "o ne$ "rac%s 7&p)ode se)ec"ed i"e&s across "rac%s in"o "a%es 7&p)ode se)ec"ed i"e&s on sa&e "rac% in"o "a%es Pas"e "o "a%es in se)ec"ed i"e&s 1a%e 1:9 1a%e 2:9 1a%e 3: e"c
/o&&en"s Causes the ne1t or previous take to be selected. Causes the currently active ;selected? 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. <pens F4 chain for the currently active take. 'emoves all F4 from the takeJs F4 chain. Toggles volume envelope for take on*off. Toggles pan envelope for take on*off. Toggles mute envelope for take on*off Creates a new track for each take. Creates one track with one take for each media item selected, where the media items are selected across several tracks. Creates one track with one 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.
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2 .@ 1!e 7"e& Processing /on"e+" *enu
)n e1planation of these commands appears below.
/o&&and 3or&a)i-e se)ec"ed i"e&s 3or&a)i-e se)ec"ed i"e&s Eco&&on gainF :yna&ic sp)i" se)ec"ed i"e&s . Suan"i-e i"e& posi"ions "o grid *ove i"e&s "o source preferred posi"ion 7&p)ode se)ec"ed i"e&s across "rac%s in"o i"e&s on one "rac%. Au"oCreposi"ion i"e&s in free posi"ioning &ode E+p)ode &u)"ic!anne) audio or *7:7 i"e&s "o ne$ &ono i"e&s. E+p)ode *7:7 i"e&s by no"e ro$ Epi"c!F. /onver" ac"ive "a%e *7:7 "o inCpro5ec" even" /onver" ac"ive "a%e *7:7 "o fi)e Eg!os" copyab)eF 7&por" &edia cues fro& se)ec"ed i"e&s as pro5ec" &ar%ers
/o&&en"s 2ormali9es all selected items, assessing each one independently. 2ormali9es as far as possible all selected items, adding the same amount of gain to each. <pens the dynamic split dialog bo1 for dynamic splitting. @uanti9es the positions of selected items according to grid settings. oves items to source preferred position erges the selected items into a single track. >ets 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. This command will e1plode ;or LdissolveM? ,D, channels. Dissolves ,D, items by note row instead of channel.
Changes a previously ghost copied item into a pro3ect event in its own right. Changes the status of the active ghost copied. ,D, take so that it can be
Converts e1isting media cues in an imported item into '()P(' markers.
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2 .A 1!e Record Ar& /on"e+" *enu
This menu is accessed by right5clicking over the 'ecord )rm button or T7 meter of any track.
)n e1planation of the commands follows.
/o&&and *oni"or 7npu" . *oni"or 7npu" E1ape Audio 0"y)eF *oni"or "rac% &edia $!en recording Preserve P:/ de)ayed &oni"oring
/o&&en"s The first two of these options are mutually e1clusive& you should select whichever of these you prefer if you wish to use '()P('Js input monitoring. Nou 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. 7sed to record a track8s output ;post F4?. <ptions include multichannel, stereo or mono ;with or without latency compensation? and ,D, output. )llows for input monitoring without recording. Causes the track to be auto armed when selected. Displays sub menu from which to select the reCuired mono input from your sound card. Displays sub menu from which to select the reCuired stereo input from your sound card. Displays a menu from which to select your reCuired device and channels ,D,
Record: inpu" Record: ou"pu"
Record: disab)e Einpu" &oni"oring on)yF Au"o&a"ic recordCar& $!en se)ec"ed *ono 7npu" 0"ereo 7npu" *7:7 7npu" 1rac% recording se""ings
7sed to change recording format settings and*or input Cuanti9e settings for this track.
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2 .; 1!e Enve)opes /on"e+" *enu
The envelope menu shown ;left? is accessed by right5clicking over any e1isting point on any e1isting envelope. 'ight clicking over an e1isting envelope but not on a specific point produces a similar menu, but with some point5specific commands such as commands such as 0e" poin" va)ue. and 0e" poin" s!ape e1cluded, and the command /rea"e ne$ poin" added. )n e1planation of this menu appears below.
/o&&and 0e" poin" va)ue. 0e" poin" s!ape 0e)ec" a)) poin"s Unse)ec" a)) poin"s 0e)ec" a)) poin"s in "i&e se)ec"ion /opy se)ec"ed enve)ope poin"s /u" se)ec"ed enve)ope poin"s
/o&&en"s <pens a dialog bo1 in which you can specify a different value for the specific point, and, if you wish, position and shape. Rets you specify any of the si1 available shapes for the current point. >elects all points in the envelope. 7nselects all points in the envelope. >elects 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 /"r) V causes cut or copied points to be pasted onto whichever envelope is currently selected, at the cursor position. )llows you to select any one of the si1 available shapes to apply to all currently selected envelope points. )llows you to change the default shape that will be applied to new envelope points. Deletes the envelope point.
0e" s!ape for a)) se)ec"ed poin"s 0e" enve)ope defau)" poin" s!ape :e)e"e enve)ope poin"
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/o&&and :e)e"e se)ec"ed enve)ope poin"s :e)e"e enve)ope poin"s in "i&e se)ec"ion 7nver" se)ec"ed poin"s Rese" se)ec"ed enve)ope poin"s "o -ero#cen"er Reduce nu&ber of enve)ope poin"s /o&&en"s 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 LneutralM value. Displays the 'educe Points dialog bo1, 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 e1ample to write automation changes to the envelope. Determines whether envelope will be shown in its own lane or not. Qides the envelope whilst keeping it active. Qidden envelopes can be redisplayed using the (nvelopes window. Toggles the bypass state of the envelope. 'emoves all points from the current envelope. Nou are prompted to indicate whether you also wish to remove the envelope completely.
Ar& enve)ope for recording 0!o$ enve)ope in )ane <ide enve)ope ,ypass enve)ope /)ear or re&ove enve)ope
'ight clicking over the background area of any envelope lane in the track control panel will produce a menu similar to that shown on the right. The commands on this menu fall into three sections& E+is"ing avai)ab)e enve)opes& 7se this to change the envelope displayed in this lane to any of those shown on the menu. Enve)ope &ange&en": 7se these 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 reCuired automation mode for this track.
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2 .1 1!e 1ranspor" ,ar /on"e+" *enu
This conte1t menu is accessed by right5clicking over the Transport Par. )n e1planation of the commands on this menu appears below. ,n addition, more specific conte1t sensitive menus are available by right clicking over many of the items on the transport bar. For e1ample, right5clicking on the Record button gives you a menu of the three record mode options. 'ight clicking on the play rate fader causes the specific play rate sub menu to be displayed.
/o&&and Ju&p "o &ar%er P)ay ra"e
/o&&en"s Displays a fly out menu of markers. Click on any marker in the list to 3ump to it.
Displays a sub menu of options for ad3usting the play rate ;with or without preserving pitch? and to set the play rate fader range.
Displays a sub menu of various actions eCuivalent to the Transport control buttons 5 play, record, pause, stop, go to start, go to end, etc. 7sed to synchroni9e '()P('Js clock to an e1ternal device. >ets the specified recording mode. The three options are mutually e1clusive.
1ranspor" E+"erna) "i&ecode 0ync!roni-a"ion Record &ode: nor&a) Record &ode: "i&e se)ec"ion au"o punc! Record &ode: au"oCpunc! se)ec"ed i"e&s Use ru)er "i&e uni"
(nsures that whatever time unit is selected for the ruler is also used on the Transport Par. )lternatively, you can select one of the other options ;see below?. >elect your preferred unit of measurement for display on the Transport
*inu"es : 0econds
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/o&&and *inu"es G ,ea"s R * 0 *easures G ,ea"s 0econds 0a&p)es <ours:*inu"es:0econds:Fra&es 0!o$ p)ay ra"e con"ro) 0!o$ p)ay s"a"e as "e+" /en"er "ranspor" con"ro)s :oc% "ranspor" in *ain (indo$ <ide "ranspor" Toggles this option on and off. Toggles this option on and off. Toggles this option on and off. Toggles this option on and off. Qides the Transport Par. To redisplay, press /"r) A)" 1. /o&&en"s Par. These options are mutually e1clusive.
2 .11 1!e Rou"ing *a"ri+ /on"e+" *enu

The commands in this menu are used mainly to determine which items a re and are not shown in the routing matri1. (1actly which items you will wish to show will vary at different times in your pro3ect8s life cycle. aking the right selection for the right time can prevent screen clutter and make the matri1 easier to work with.
/o&&and *a"ri+ &ode 0!o$ CCCC as des"ina"ion
/o&&en"s Decides whether the routing or grouping matri1 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 matri1 is or is not docked.
0!o$ CCCC as sources
:oc% &a"ri+ in doc%er
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2 .12 1!e F2 (indo$ /on"e+" *enu
This menu is accessed by right5 clicking within any trackJs F4 window.
)n e1planation of the commands on this menu appears below.
/o&&and Add F2 . Add F2 c!ain . 0ave F2 c!ain . 0ave se)ec"ed F2 as c!ain . /opy se)ec"ed F2 /u" se)ec"ed F2 /opy a)) F2 Pas"e F2 0e)ec" a)) 1ogg)e se)ec"ed F2 bypass 1ogg)e se)ec"ed F2 off)ine
/o&&en"s <pens )dd F4 Bindow to add one or more plug5ins to the current F4 chain. Displays a menu of previously saved F4 chains from which to select for insertion in the current F4 window. >aves all F4 in current F4 window as an F4 Chain. >aves selected F4 in current F4 window as an F4 Chain. Copies currently selected F4 to clipboard. Cuts currently selected F4 to clipboard. Copies all F4 in current F4 window to clipboard. Pastes F4 from clipboard into current F4 window. >elects all F4 in current F4 window. Toggles bypass of all currently selected F4. Toggles online*offline status of all currently selected F4.
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/o&&and Rena&e F2 7ns"ance Re&ove se)ec"ed F2 Re&ove a)) F2 0ave c!ain as defau)" for ne$ "rac%s Boad defau)" "rac% c!ain (indo$ f)oa" se)ec"ed F2 0end a)) %eyboard inpu" "o p)ugCin /o&&en"s )llows you to assign a specific name for this instance of the plug5in. 'emoves all selected F4 from current F4 window. 'emoves all F4 from current F4 window. akes the F4 chain in the current F4 window the default F4 chain automatically inserted when you create new tracks. Roads the current default F4 chain into the currently open track F4 window. Floats selected F4 so that they are displayed independently of the F4 window. (nsures that keystrokes ;such as navigation keys? operate within the selected plug5in ;where the plug5in has been designed to recognise and accept these keystrokes?. 2ote that not all plug5ins will recognise these keystrokes. ,ui)d &u)"ic!anne) for ou"pu" of se)ec"ed F2 ,ui)d 1= c!anne)s of *7:7 rou"ing "o "!is "rac% :oc% F2 $indo$ in doc%er /)ose F2 $indo$ Creates multichannel*multitrack where appropriate& for use with multichannel T>Tis and D1is. Bhere appropriate, for use with multichannel T>Tis and D1is. Toggles the docked*undocked status of the F4 window. Closes the F4 window.
Nou should also be aware of the more limited number of options available from the menu that is displayed when you right click over any F4 in the F4 area of the i1er. This menu is shown on the right& Add F2 or Add F2 c!ain can be used to insert an F4 or an F4 plain into that track. F)oa" F2 configura"ion will open the interface for an individual plug5in in a window of its own. 0!o$ F2 c!ain will open the track8s F4 chain. ,ypass c!ain will toggle the bypass state of the entire F4 chain for that track. ,ypass F2 will toggle the plug5in8s bypass status 'ff)ine F2 will toggle its offline status. :e)e"e F2 will remove the plug5in from that track8s F4 chain. Rena&e F2 ins"ance allows you to rename this individual F4 instance.
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2 .13 1!e *7:7 7nCBine Edi"or /on"e+" *enu
'ight5clicking within the ,D, ,n5Rine (ditor the conte1t menu shown on the right. These commands are a subset of some of the ,D, (ditorJs menu commands and are e1plained in detail in Chapter %!. The first section ;from 7nser" no"e a" edi" cursor to 3o"e c!anne)? contains the same commands as the right click notes menu in the ,D, (ditor. The second section ;from Suan"i-e even"s to 0e" se)ec"ed no"e ends "o s"ar" of ne+" no"e? can also be found on the Edi" menu in the ,D, (ditorJs main menu. The remaining commands ;from 0!o$ a)) no"e ro$s to :ia&onds Mdru& &odeF can also be found on the Vie$ menu in the ,D, (ditorJs main menu.
2 .1> 1!e *7:7 Edi"or /on"e+" *enu

'ight clicking over the title bar in the ,D, (ditor ;or tab if docked? 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 3aviga"e commands, then Vie$, then Ac"ions, then 3aviga"e. These commands are e1plained in detail in Chapter %!.
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1!e E+"ra 0"uff
21 C ReaRou"e: Using REAPER $i"! '"!er Audio Apps 21 ReaRou"e: Using REAPER $i"! '"!er Audio Apps
21.1 (!a" is ReaRou"eY
'ea'oute is an )>,< driver that allows you to route audio to and from any other )>,< enabled application. 'ea'oute is only installed on your system if you select the ReaRou"e A07' driver during the '()P(' installation process. This option is found on the '()P(' >etup screen on the /!oose /o&ponen"s page ;shown right?, under the heading Added Func"iona)i"y. ,f you did not have this option selected ;or if in doubt? when you last installed '()P(', simply reinstall '()P(', this time making sure that you have this option selected. Bhen you choose to install 'ea'oute, the ReaRou"e A07' driver appears in the )>,< driver list for the other audio applications on your system. 3o"e: >ome users have reported problems with native )>,< drivers after installing the 'ea'oute driver. ,f you e1perience problems with your )>,< drivers after installing this feature, uninstall '()P(', then re5install with this check bo1 cleared. <nce 'ea'oute has been installed, you can pass audio streams between '()P(' and other audio applications. ,n this e1ample, we will use the e1ample of sharing audio between '()P(' and >onar. The same principles apply, however, if you are working with an application such as Cubase or )bleton Rive instead of >onar.
REAPER
'ea'oute
'"!er Audio App
,n this section, you will be introduced to using 'ea'oute by working thru the following tasks& >etting up >onar ;or any other D)B application of your choice? to work with 'ea'oute. >ending a pro3ect out from '()P(' to that app and recording it track by track within that app. >ending a pro3ect from >onar to '()P(', this time bringing it in as a series of submi1es. Nou can then apply '()P(' features to that pro3ect. 7sing a synthesi9er workstation such as Pro3ect E in con3unction with '()P('.
Please remember that the purpose of this e1ercise is to teach you how you can go about sharing audio between different applications. Qow you apply that knowledge, and what benefits you derive from it, is of course up to you.
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21.2 0e""ing Up Apps for ReaRou"e
Pefore 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 A07' as the preferred driver, the second is to enable the various input and output channels reCuired to transmit audio between the application and '()P('. Bith some applications, this second step is not reCuired. The method will vary with the application, but always involve specifying your preferences on the Audio 0e""ings dialog bo1 ;or similar?. The table below gives some e1amples. 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 reCuired. App)ica"ion 7ns"ruc"ions
3o"e: Pefore setting up or using any application for use with 'ea'oute, you should& ake sure that the 'ea'oute )>,< Driver has been installed ;see previous page?, and ake sure that '()P(' is open and minimised. %. !. .. Ab)e"on Bive /. E. G. FB 0"udio 'p"ions9 Preferences then click on the Audio tab. >et :river 1ype to A07'. >et Audio :evice to ReaRou"e A07'. Click on 7npu" /onfig then on each input channel that you wish to enable, then '8. Click on 'u"pu" /onfig then on each output channel that you wish to enable, then '8. Close Preferences window.
'p"ions9 Audio 0e""ings, then select ReaRou"e A07' for 'u"pu". Close )udio >ettings window. 'p"ions9 Audio then under Audio :river 0e)ec"ion G 'u"pu"s select ReaRou"e A07' ReaRou"e /)ien" CK REAPER 1 EA07'F then '8. %. !. .. 'p"ions9 Audio9 Advanced then set Driver ode to A07' then '8.
Pro5ec" ?
'p"ions9 Audio9 :rivers then disable all e1isting drivers ;input and output? 'p"ions9 Audio9 Advanced then set Device to ReaRou"e A07' EA in9 A ou"F then '8 'p"ions9 Audio9 :rivers and enable all 'ea'oute drivers, then '8.
0onar
/.
3o"e: >onar reCuires that you e1it and restart the program before certain changes to audio settings are applied. Pecause of this, you may not be able to complete all of these steps at once A you may find that you have to close and reopen the program after each step before you can go on to the ne1t one. %. Click on the 0e""ings tab. !. From the (ave :evice drop down list choose ReaRou"e A07'. 1rac%"ion .. 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. /. Click on the Pro5ec"s tab when finished.
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21 C ReaRou"e: Using REAPER $i"! '"!er Audio Apps

21.3 0ending Audio Fro& REAPER "o Ano"!er :A( App
Pefore attempting this e1ample, make sure that you have installed the 'ea'oute )>,< Drivers and that you have set up your other D)B application ;such as Cubase, >onar, )bleton Rive, Tracktion or >amplitude? to use 'ea'oute Drivers, as e1plained on the previous page.
,n this e1ample, we are going to send a pro3ect from '()P(' to >onar. Nou might wish to do this, for e1ample, to use >onar to apply T5Tocal to a vocal track. <f course, the same principles would apply if you were using a different application other than >onar, such as Cubase, )bleton Rive, or >amplitude. Provided you know your other application well enough and have already set it up to use 'ea'oute ;see previous page? 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 pro3ect file that you wish to use. For each track that you wish to use, set the output to a different 'ea'oute channel. <pen the other application ;e.g. >onar? and create a new pro3ect 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 eCuivalent output used in '()P('. For e1ample, if in '()P(' you set a trackJs output to 'ea'oute Channel %, then the corresponding new track in >onar will need to have its input set to Reft 'ea'oute )>,< 'ea'oute '()P(' Channel %. Bithin the second application, start recording. Bithin '()P(', play the song. >top both when the song finishes. Nou can then do whatever work you wish. )n e1ample follows shortly. Bhen finished, first close the other application and then close '()P('. Nou should always remember A <pen '()P(' first, close it last.
<f course, in many cases it would be easier and Cuicker 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 e1ample& ,t might not be easily possible to line up all tracks. >ome 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. >ome tracks might consist of a combination of ,D, items and audio items. any applications do not let you mi1 ,D, and audio on the same track. This way, they are all taken across as audio.
E+a&p)e
%. >tart '()P('. <pen the file A)) 1!roug! 1!e 3ig!".RPP and save it as A)) 1!roug! 1!e 3ig!" REAR'U1E.RPP. >elect the first track. Display the ,*< window for this track and direct Qardware <utput to ReaRou"e /!anne) 1 as shown ;right?. >imilarly, direct Qardware <utput for Track ! to 'ea'oute Channel !, Track . to 'ea'oute Channel ., and Track / to 'ea'oute Channel /. >ave the file.
!.
..
/.
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E. G. #. <pen >onar ;or whatever application you are using?. These instructions assume that you are already familiar with how to give commands and perform basic tasks in this application. Create a new pro3ect file containing four blank audio tracks. )rm all four tracks for recording. >et the ,nput for 1rac% 1 to Bef" ReaRou"e A07' REAPER[K/B7E31 1 as shown below.
0.
>et the ,nput for 1rac% 2 to Rig!" ReaRou"e A07' REAPER[K/B7E31 19 the ,nput for 1rac% 3 to Bef" ReaRou"e A07' REAPER[K/B7E31 39 and the ,nput for 1rac% > to Rig!" ReaRou"e A07' REAPER[K/B7E31 3. >ave this file as A)) 1!roug! 1!e 3ig!" REAPER.c$p
F.
%". >tart 'ecording. %%. >elect '()P(' and press Play. )s the song is recorded, the track will be recorded in >onar. 2ote that if any of your '()P(' tracks have any active F4 in their F4 windows, then it will be post F4 signal that will be recorded in >onar. %!. Bhen the song finishes, stop the recording in >onar, then stop playback in '()P('. %.. ,n >onar, unarm the four tracks. %/. The file should now resemble that shown below. 0ave this file, then wait. Be will shortly be using >onar to do some work on this file. eanwhile, keep '()P(' and >onar both open.
.F!

21.> 0ending Audio Fro& Ano"!er :A( App "o REAPER
>taying with the same e1ample, we are now going to use 'ea'oute to take our open >onar pro3ect and send an audio signal back to '()P('. ,n overview, this is how it is done. <pen '()P(' and create a new pro3ect file. ,nsert as many new tracks as you need. <pen >onar. ,n >onar, open the file you wish to work on, and assign outputs on a track by track basis to your various 'ea'oute channels as reCuired. )rm these tracks for recording. ,nsert any F4 ;such as T5Tocal? that you may wish to use in your >onar tracks. )ssign the outputs of your >onar tracks to the various F4 channels as reCuired. Play the song in >onar, ad3usting your F4 to suit. Bhen ready, start recording in '()P(', then play the song in >onar from the beginning. Bhen finished, stop both playback and recording.
E+a&p)e
,f you are carrying on from the (1ample in the previous section, go straight to step . below. <therwise K
%. !. .. <pen '()P('. <pen >onar, then open the file )ll Through The 2ight '()P('.cwp A this file was created in the previous e1ample. ,n '()P(', create a new pro3ect file. >ave it as A)) 1!roug! 1!e 3ig!" 0'3AR.RPP. ,nsert two tracks into this pro3ect. )rm both these tracks for recording. For the first of these tracks, set the input to ReaRou"e /!anne) 1# ReaRou"e /!anne) 2, as shown right. For the second of these tracks, set the input to ReaRou"e /!anne) 3# ReaRou"e /!anne) >. Dive both tracks a suitable name. Be are going to use Track % to import the Tocal track from >onar, and Track ! to import an instrumental submi1. For both these tracks, make sure that ,nput onitoring is turned on. ,n >onar, set the output of Track % to ReaRou"e A07' ReaRou"e /)ien" [KREAPER 1 , as shown right. ,n >onar, for tracks !, . and / set the output to ReaRou"e A07' ReaRou"e /)ien" [KREAPER 3 ,n >onar, play the song in >onar. )d3ust the panning and levels of the instrumental tracks A Track . /"O Reft, Track . /"O 'ight, Track / Centre.
/.
E. G.
#.
0.
F.
%". ,n >onar, insert any Cakewalk F4 reCuired for the vocal in the Tocal Track.
.F.

%%. Bhen you are ready, in '()P(', start recording. %!. ,n >onar, play the song from the beginning. %.. Bhen finished, stop both playback and recording, then close >onar.
%/. ,n '()P(', unarm your tracks. >ave your pro3ect, which should now look similar to that shown above. %E. 2otice that the first track contains the Tocal ;with Cakewalk F4? and the second track the instrumental submi1. %G. Nou can now finish this pro3ect in '()P('. For e1ample, you could insert 'eaComp into the ,nstrument >ubmi1 Track, define this track as four channels, then create a send from the Tocal Track to channels . and / 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 e1plained in detail elsewhere this 7ser Duide?.
21.?
Using REAPER (i"! a 0yn"! (or%s"a"ion
Pro3ect E from Cakewalk is a >ynthesi9er Borkstation application. ,n this section, you will see how 'ea'oute can be used to make the functionality of Pro3ect E ;or any similar application? available to you when you are working with '()P('. To be able to work thru this e1ample, you will need to already know how to use Pro3ect E ;or whichever synth app you are using? to create music.
Pefore proceeding with this section, you will need to ensure that your 'ea'oute )>,< drivers have been installed ;see >ection !".%? and that the >ynth Borkstation program has been set up to use them ;see >ection !".!?.
E+a&p)e
,n this e1ample, you will be shown how to use 'ea'oute to allow you to use a synth workstation program such as Pro3ect E to record tracks onto '()P(' for an e1isting '()P(' pro3ect file. %. !. .. /. <pen '()P('. <pen the file A)) 1!roug! 1!e 3ig!".RPP and save it as A)) 1!roug! 1!e 3ig!" PR'J.RPP. )dd another track after the last track in this pro3ect. Nour new track should be Track E. 2ame this track 0yn"!s. )rm this track for recording, turn input monitoring on and set the Track ,nput to >tereo, ReaRou"e /!anne) 1 # ReaRou"e /!anne) 2. <pen Pro5ec" ? and create a new pro3ect file. Choose the 'p"ions. Audio command and direct output to ReaRou"e A07' ReaRou"e /)ien" [K REAPER 1 EA07'F as shown below.
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E. For this simple e1ample, insert a synth of your choice into your Pro3ect E pro3ect file. <f course, you could if you wish insert several different synths and take full advantage of the programJs features, but for this simple demonstration we will confine ourselves to 3ust the one. G. #. Bithin '()P(', make sure your cursor is at the start of the pro3ect. Press Record. Bithin Pro3ect E, play the >ynth to compose a track to accompany your '()P(' song. )s you do so, '()P(' will record it as a wave file. This of course is additional to any activity that occurs within Pro3ect E. Bhen you have finished, save your Pro3ect E file as ReaRou"e :e&o.p?p and close the program. ,n '()P(', unarm the >ynths track and save your file.
0. F.
21.=
0yncing "o an E+"erna) :evice
,f you are using '()P(' in con3unction with an e1ternal device then you may need to ensure that your D)B is in sync with that device, and to take its time clock from that device. For e1ample, you may need to slave '()P(' to another D)B, or to a video deck. )nother e1ample might be if you need to upload time5 stamped material from )D)T tape. To synchroni9e '()P(' to an e1ternal timecode, follow this seCuence& 'ight click over the P)ay button on the Transport Par. This opens the settings dialog bo1 shown on the right. >elect the ,nput to be used. )vailable sync types include )>,< Positioning Protocol, TC and >PP. Complete the other settings and close the dialog bo1. Nou should consult the documentation of your e1ternal device for further information.
.FE

To play '()P(' in sync with an incoming timecode, hold the A)" key while right clicking on the play button ;as shown?. A)" Rig!" /)ic% toggles >ync Play on and off ;see right?.
REAPER 0ync 1ypes E0u&&aryF 0ync 1ype A07' Posi"ioning Pro"oco) /o&&en" Creates a synchroni9ation that is sample accurate with the e1ternal device. ,n other words, the time code has as many time locations as your pro3ects sampling rate. 'eCuires that your audio hardware uses )>,< !." drivers. Binear 1i&e /ode EB1/F *7:7 1i&e /ode E*1/F This is the same as > 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 > 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 si1 clocks or ticks. For some devices, this is all you need.
0ong Posi"ion Poin"er E0PPF
1!e /on"e+" *enu

The commands for enabling*disabling e1ternal timecode synchroni9arion and for changing the settings are also available on '()P('Js 1ranspor" ,ar conte1t menu and on the main 'p"ions menu.
Assignab)e Ac"ions
The following actions are assignable using the keyboard shortcut editor ;<ptions, Preferences, =eyboard >hortcuts?& >how e1ternal timecode synchroni9ation settings. Toggle e1ternal timecode synchroni9ation.
0ending /)oc%#0PP fro& REAPER "o an e+"erna) *7:7 :evice

To send Clock*>PP data from '()P(' to an e1ternal ,D, device, you need to enable the feature under 'p"ions9 Preferences9 *7:7 :evices. 'ight click over the device name and select the option 0end /)oc%#0PP to output.
.FG
22 C 0o&e '"!er REAPER Fea"ures E'vervie$F 22 0o&e '"!er REAPER Fea"ures E'vervie$F
BeJve 3ust about come to the end of this 7ser Duide A and thereJs still plenty left that we havenJt told you about: <nce you get up and running with '()P(', youJll find thereJs heaps more information available to you on the '()P(' B,=, and of course thru the user forums. Nou can find these at& http&**www.cockos.com*wiki* http&**www.cockos.com*forum* ,n this section, we are 3ust going to introduce you in overview to some of these features, 3ust so that youJll get an idea of some of '()P('Js other capabilities.
22.1
3E(4 Rea0crip"
'ea>cript is a scripting language that takes your ability to customi9e '()P(' well beyond that offered by the )ctions Rist editor. Bith 'ea>cript, you can not only create more powerful and sophisticated macros, you can even create your own e1tension commands. To use 'ea>cript, you will first need to have either the Perl or Python scripting languages installed on your computer. 'ea>cript isn8t for everyone A in fact, because it reCuires an understanding of programming it probably isn8t for most people. Nou can find out more about 'ea>cript and how to get started at& http&**www.cockos.com*reaper*sdk*reascript*reascript.php
22.2
Rea*o"e
'ea ote is '()P('8s network F4 functionality. ,t allows you to have any F4 chain in your pro3ect processed on a remote machine on your local network. This is very useful if you have a lot of CP7 consuming effects and want to add more CP7 power to your pro3ect without upgrading your main host8s CP7. To set up 'ea ote, simply install '()P(' and whatever plug5ins you need on the slave machines. 'un the 'ea ote slave on the slave machines, then enable 'ea ote in the REAPER Preferences on the master, and you8re ready to go:
22.3
Re$ire
'()P(' also supports 'ewire. 'eBire is a technology developed by Propellerhead >oftware that allows applications to share audio, ,D, and synchroni9ation data. )udio and ,D, data are transferred between the two applications in real5time, allowing you to use the features in each application as if they were one. ,n a 'eBire session, the first application acts as the host, and the second application acts as the slave. The slave receives and sends signals via the host application. '()P(' can be used as either host or slave.
22.>
REAPER and 373JA*
2,2$) 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 te1t information, and has the ability to record both the local and remote channels of each 6session6 ;audio only?. '()P(' has the ability to import these recorded session files to allow you to edit and mi1 at your leisure. 6Fake time6 means that some players will hear a delayed version to which they play along. To learn more about the 2,2$) To learn more about using 2,2$) software or download a copy, visit http&**www.2in$am.com with '()P(', visit the Cockos B,=, http&**www.cockos.com*wiki*
.F#

22.? REAPER and Video
'()P(' can be used to edit the soundtrack of your video files, such as .)T,, . PD and .B T files. These files are imported using the 7nser"9 *edia Fi)e command. ,n addition, you can use the 1rac%9 7nser" 1rac% fro& 1e&p)a"e command to import data from a .(DR file. 7se the Vie$9 0!o$ Video (indo$ command, /"r) 0!if" V, to show the Tideo Bindow. 7se the 'p"ions command within this window if you wish to resi9e it. Nou cannot perform any video editing within '()P(', but you can work on the soundtrack. Nou can edit the e1isting soundtrack, and*or add create new tracks and media items to be mi1ed with it. ,n the illustration below, Track % contains the original soundtrack_ Track ! contains a voice over that has been added in '()P('.
The )udio Tracks can then be mi1ed down and rendered to a new .B)T file, that can be imported back into the original video file using a program such as Tegas.
.F0
23 C 1roub)es!oo"ing REAPER 23 1roub)es!oo"ing REAPER

This section aims to help you resolve problems that are sometimes encountered by new users.
23.1
7npu"#'u"pu" 7ssues
7npu" 'u"pu" 7ssues

Prob)e& (!en 7 p)ay bac%9 &y audio "rac% is si)en"9 even "!oug! "!ere is ac"ivi"y in "!e "rac%Is VU &e"er. :iagnosis and Possib)e 0o)u"ion The problem is likely to be either with your routing in '()P(', your sound cardJs settings or with your audio hardware setup. REAPERIs Rou"ing: ake sure that the trackJs 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. 0ound /ard 0e""ings: 7se 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 0e"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. 7se Bindows Device anager ;Control Panel, >ystem, Qardware, Device anager, >ound Tideo and Dame Controllers? to ensure the device is enabled and functioning correctly. 1ips: <pening a different audio application and playing any wave file can help you determine whether the problem lies within '()P(' or with your >ound Card or )udio >etup. 7 ge" an error &essage "o "!e effec" "!a" *7:7 deviceEsF canno" be opened 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. (!en 7 p)ay bac%9 &y audio "rac% is si)en"9 and "!ere is no ac"ivi"y in "!e "rac%Is VU &e"er. The problem is likely to be specifically related to that track or item, especially if you have other pro3ects 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 Properties?.
.FF

7npu" 'u"pu" 7ssues
Prob)e& :iagnosis and Possib)e 0o)u"ion Check the F4 Bindow for the track to make sure there is no F4 which is causing the track to be silenced. Check the trackJs volume fader to make sure it is not set too low. (!en 7 p)ay bac%9 7 donI" !ear so&e or a)) of a "rac%Is F2 being app)ied The problem could be happening in the trackJs F4 window or in the plug5inJs own window, or both. Check that the trackJs F4 Bindow has not been set to bypass mode. Check that the individual F4 has not been set to bypass mode. This might occur in the F4 Chain window or with some plug5ins within the plug5inJs own window. Check that the plug5inJs Bet*Dry mi1 setting ;where present? has not been set to %""O dry. (!en 7 p)ay bac%9 7 ge" c)ic%s9 pops9 s"u""ers or dropou"s This probably means that you are attempting to play this pro3ect at a latency too low for your system. This is more likely to happen if you use a large number of CP7 hungry F4 such as 'everb. Try one or more of these remedies& Consider whether you can rearrange your mi1 to use fewer CP7 intensive plug5ins, for e1ample by making more use of F4 busses to share F4 used by more than one track. ,f you are using a high sample rate, such as 00!"" or %#G/"", try a lower one. Do to File, Pro5ec" 0e""ings and reduce the >ample rate to //%"". This will reduce the load on the CP7 and you will probably find that you can live with any perceived difference in sound Cuality. Consider increasing buffer si9e. This will increase latency, but should not be a problem when playing back. Do to <ptions, Preferences, Audio :evice. Click on )>,< Configuration to bring up the Control >oftware for your sound card. ,ncrease buffer si9e, perhaps to %!0" samples. Check your Audio ,uffering preferences, especially for F2 processing#&u)"iprocessing. Pe prepared to e1periment with 'ender ahead si9e and with which options are allowed. (!en 7 p)ay bac%9 "!e *as"er c)ips in"o "!e red and dis"or"s9 even "!oug! "!e "rac% )eve)EsF appear Tui"e )o$ (!en 7 p)ay bac%9 "!e audio sounds c)ipped9 even "!oug! i" doesnI" appear "o be visib)y c)ipping any$!ere This can arise as a result of routing problems, for e1ample when you have any track or tracks routed to the aster by several different routes at the same time. Check the 'outing atri1
This could be caused by a routing problem, or by some F4 or combination of F4 which might be distorting your sound. Check the 'outing atri1 to see if any track or tracks is*are being directly routed to the same audio hardware output as the aster. ,f this isnJt the cause of the problem K Disable all F4 to see if this fi1es the problem.
/""
23 C 1roub)es!oo"ing REAPER
7npu" 'u"pu" 7ssues
Prob)e& :iagnosis and Possib)e 0o)u"ion ,f it does, reintroduce the F4 gradually until you can identify which is causing the problem. (!en 7 "ry "o p)ay an i&por"ed *7:7 "rac%9 i" is si)en" This can be a routing, sound card or setup issue A 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, Qardware device, display the trackJs 'outing Bindow and make sure it is assigned to a ,D, Qardware Device. ,f you are not using a ,D, Qardware device, display the F4 Bindow for the track, and insert a software synthesi9er of your choice ;usually D4i or T>Ti?. (!en 7 "ry "o record audio9 no"!ing is recorded 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. Check ;<ptions, Preferences, )udio Device? that your range of audio inputs has been defined and enabled. ake sure under the <ptions menu that you have the correct reCuired 'ecord ode set ;usually this should be 2ormal. Check that 'ecord ,nput is enabled. <r, if you have selected 'ecord <utput, check the F4 window for any F4 that could be silencing the trackJs output. ake sure that the microphone or lead for the instrument being recorded is connected to the correct audio input. ,f the microphone reCuires phantom power, make sure that the phantom power supply is enabled. Check your audio input mi1er ;e1ternal hardware desk, sound card mi1er software, or both? to make sure that the incoming signal is correctly routed. Check your audio input mi1er ;e1ternal hardware desk, sound card mi1er software, or both? to make sure that the incoming signal is not muted. 7 donI" !ave enoug! /PU "o p)ay bac% &y pro5ec" )lmost certainly, this is because you are trying to use more F4 than your D)B can handle. 7se the Performance eter to determine which tracks are using the most CP7 hungry F4. Then right click over the media items for those tracks and either App)y F2 "o i"e&s as ne$ "a%e or App)y F2 "o i"e&s as ne$ "a%e E*onoF.
/"%

23.2 REAPER 7n"erface 7ssues
7n"erface 7ssues
Prob)e& (!en 7 press 0pace Eor so&e o"!er 1ranspor" /on"ro)F9 no"!ing !appens :iagnosis and Possib)e 0o)u"ion This happens when focus is with another window, such as the 'outing atri1, or an open Dialog Po1. Two possible solutions are& Dive focus to another view such as the Track Tiew or pressing the key, or i1er before
7se an e1ternal ,D, control device such as a PC'!""" and assign transport functions to its various buttons. These will then work regardless of which window has focus, or whether a dialog bo1 is open. (!en 7 "ry "o p)ace "!e edi" cursor e+ac")y $!ere 7 $an" i"9 i" &oves a )i"")e (!en 7 "ry "o &a%e a "i&e se)ec"ion9 "!e s"ar" and end poin"s &ove fro& $!ere 7 $an" "!e&. 7 add a Vo)u&e or Pan enve)ope "o a "rac%9 bu" $!en 7 p)ay bac% "!e fader does no" &ove. 7 record &u)"ip)e "a%es on a "rac%9 bu" on)y "!e )as" one is visib)e. >napping may be enabled. ,f so, use the <ptions, (nable >napping command to disable it.
>napping may be enabled. ,f so, use the <ptions, (nable >napping command to disable it.
ake sure that )utomation armed.
ode is set to 'ead and the envelope is
To view all takes for a track, choose the <ptions, >how )ll Takes in Ranes Command,
or To view a take other than the last take, right click over the media item and choose the Take command from the conte1t menu.
Check your Tertical Soom Pehavior settings under <ptions, Preferences, (diting Pehavior. Nou probably want to set this to Rast >elected Track. Check your Qori9ontal Soom Pehavior settings under <ptions, Preferences, (diting Pehavior. Nou probably want to set this to (dit Cursor or Play Cursor.
(!en 7 &a+i&i-e a "rac%9 "!e $rong "rac% is disp)ayed (!en 7 -oo& in !ori-on"a))y9 "!e edi" cursor disappears fro& vie$ and 7 )ose &y p)ace 7 "ry "o vie$ a $indo$9 suc! as ,ig /)oc% or Perfor&ance *e"er9 bu" 7 canI" see i" on "!e screen
This can be tricky, and can sometimes happen because of changes made to your Bindows display settings. There are two main ways to fi1 this. 7se Bindows 2otepad to edit the reaper.ini file in the folder C&[Documents and >ettings[7ser 2ame[)pplications Data['()P('. This should only be attempted if you are confident that you understand what you are doing. For e1ample, if the Pig Clock has
/"!
23 C 1roub)es!oo"ing REAPER
7n"erface 7ssues
Prob)e& :iagnosis and Possib)e 0o)u"ion been lost, delete only that section of the reaper.ini file, save it, close it, then restart '()P('. For e1ample, in the reaper.ini file e1tract shown here, the Pig Clock section is shown as italici9ed& `flac encoder defaultsa defaultHsi9e-%! default-G.G%GCGG%""""""""E"""""")P `bigclocka wndHvis-% wndHleft-FG# wndHtop-G"" wndHwidth-/!G wndHheight-%.# timeHmode-" `namecachea )nalogH,nH%HDeltaH%"%"HH%H-,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 ne1t time you run '()P('. *y Undo <is"ory $indo$ is c)u""ered $i"! every i"e& and "rac% se)ec"ion 7 &a%e Do to <ptions, Preferences, Deneral and disable Create 7ndo points for item*track selection.
/".
/"/
7nde+
A Action List..........................................................243, 286 Action List Editor.......................................................243 Action List, browsing..................................................243 Action List, filtering...................................................244 Action List, searching.................................................244 Action List, sorting.....................................................243 Actions menu..............................................................252 Actions, assigning to the mousewheel........................255 actions, meta actions...................................................254 Actions, running..........................................................252 Add F ...............................................................!!4, 384 Add F chain..............................................................384 Add F "hain...............................................................52 Add #rac$.....................................................................63 Ad%usting #rac$ &eight.................................................43 Ad'anced (is$ )*+ +,tions........................................353 A)FF..............................................................................34 Aliasing...................................................................24, 25 allow feedbac$..............................................................35 am,lifier simulator......................................................3!4 Antici,ati'e F ,rocessing.........................................!2A,,earance settings....................................................358 A,,lication (ata (irector............................................28 A,,l. F to items as new ta$e...................................3/5 A,,l. F to )tems as 0ew #a$e.................................!58 A1)+ "onfiguration..............................................24, 352 A1)+ dri'er..................................................................24 A1)+ dri'ers...............................................................352 A1)+ 2ositioning 2rotocol.........................................336 Attach (oc$er...............................................................6Attac$..........................................................................3-/ Audio 4uffering..........................................................353 Audio "( )mage.........................................................232 audio "(, burning.......................................................235 audio "(, im,orting from.............................................85 audio clic$s and ,o,s..................................................35! Audio "onfiguration...................................................35! Audio de'ice.................................................................23 Audio (e'ice......................................................35!, 352 Audio (e'ice, enabling..............................................4-! audio dro,outs.............................................................35! Audio (uc$ing............................................................33! Audio format, selecting.................................................62 Audio &ardware +ut,uts..............................................36 Audio &ardware 1etu,................................................333 Audio in,uts..................................................................24 Audio +ut,ut................................................................36 Audio out,uts................................................................24 Audio 2references.........................................................24 Audio 2roblems..........................................................333 Audio 1ettings..............................................................34 Audio setu,...................................................................23 audio stream................................................................35! Audio 1.stem................................................................24 auto ,unch...................................................................../! auto ,unch recording.....................................................// Automatic record arm...................................................66 Automating Automation.............................................286 Automating F 2arameters on the Fl.........................285 Automation.........................................................345, 346 Automation (efaults...................................................284 automation en'elo,es..................................................265 automation lanes, hiding.............................................2/! Automation Latch.......................................................263 Automation 5ethods..................................................265 automation mode, default............................................366 Automation 5odes..............................................268, 263 Automation 6ead................................................26/, 263 Automation 7rite...............................................26/, 263 automation, hardware out,ut sends.............................28Automation, 5ute*8nmute.........................................268 Automation, #rim*6ead..............................................263 Automation, writing....................................................26/ autosa'e........................................................................6! Au9iliar. )n,ut............................................................323 4 bac$u,...................................................................23, 365 bac$u,, automatic.........................................................6! 4ass.............................................................................3-batch file con'erter.....................................................283 batch rendering...........................................................234 beat correction.............................................................!/3 beat detection..............................................................!/3 4ig "loc$......................................................................33 buffer si:e...................................................................35! buffer si:e, increasing.................................................4-buffers.........................................................................35! 4urn Audio "(...........................................................23/ 4urn Audio "( )mage................................................23/ burn to "(..................................................................232 4us................................................................................54 4us trac$.......................................................................34 4us, creating.................................................................55 4.,ass an F ................................................................5! " "" Lane......................................................................2!4 "( Audio....................................................................232 "( audio, im,orting from.............................................85 "( burning.................................................................232 "( 4urning...................................................................2"enter #rans,ort "ontrols...........................................383 "hannel 5i9er............................................................336 channel mi9ing utilit..................................................338 channel s,litting..................................................2-6, 323

"hannel 1,litting................................................!3-, 32/ channel switching utilit..............................................338 channels......................................................................323 child trac$s....................................................................34 choose 1,lit items at time selection............................!42 chorus..........................................................................3!4 chromatic 5)() item, creating....................................!/3 chromatic midi, using..................................................!/3 "lean "urrent 2ro%ect (irector..................................365 "lear en'elo,e............................................................38! "lic$ 1ource, inserting................................................286 clic$s, ,o,s, stutters....................................................4-cli,,ing.......................................................................4-"lose F window.......................................................385 colour themes................................................................33 "ommands....................................................................22 "om,ressed File 1u,,ort..............................................2"om,ression...............................................................3-6 com,ression, d.namic.................................................345 com,ressor, digital drums...........................................3!5 "onsolidating a ,ro%ect...............................................23"onte9t 5enus..............................................................23 control change messages.............................................2!3 "ontrol "hannel Editing.............................................2!4 "ontrol 1urface, installing............................................26 "ontrolled 4leed.........................................................32! "ontrols........................................................................22 "o,. all F .................................................................384 "o,. )tems..................................................................!23 "o,. loo, of selected area of items....................3/3, 3/5 "o,. selected area of selected items...................3/3, 3/5 "o,. selected en'elo,e ,oints....................................38"o,. selected F ........................................................384 "o,. selected items....................................................3/5 "o,. selected trac$s to cli,board...............................3/co,.ing en'elo,es with media items..........................2/6 "28 usage..................................................................352 create new ,ro%ect.........................................................3! "reate 1ubdirector. for 2ro%ect.....................................63 "reating trac$s..............................................................63 "ro, ,ro%ect to selection.............................................3/3 "ro, 2ro%ect to 1election............................................!45 crossfade utilit............................................................338 "rossfades............................................................./2, !56 cursor beha'iour.........................................................355 "ustom Action............................................................252 "ustom action, creating..............................................248 custom action, editing.................................................254 "ustom 1,lash 1creen.................................................362 "ustomi:ations.............................................................2"ut )tems.....................................................................!23 "ut selected area.........................................................!42 "ut selected en'elo,e ,oints.......................................38"ut selected F ...........................................................384 "ut selected trac$s to cli,board..................................3/( (" offset remo'al.......................................................3!5 default ,ath...................................................................88 (ela............................................................................3-! (ela. "horus..............................................................324 (elete en'elo,e ,oint.................................................38(elete en'elo,e ,oints in loo, selection.....................38! (elete )tems................................................................!23 (elete selected en'elo,e ,oints..................................38! deleted items, remo'ing..............................................365 (es$to, )con.................................................................2(etector )n,ut.............................................................323 (igital (rums "om,ressor.........................................3!5 (ither..........................................................................233 (oc$ F window in doc$er........................................385 (oc$ trans,ort in 5ain 7indow................................383 (oc$er...........................................................................6(oc$er, detaching.........................................................6(oc$ing.........................................................................6dro,outs......................................................................4-drum se;uencer...........................................................238 duc$ing.......................................................................33! (uc$ing.......................................................................328 duc$ing, double duc$ing.............................................33! (u,licate selected trac$s.............................................3/(<( Audio 1oundtrac$..............................................232 d.namic com,ression..................................................345 (.namic s,lit......................................................!/5, !/6 (.namic 1,litting.......................................................!43 E Edit Area.......................................................................22 edit cursor...................................................................!3editing e9tension commands.......................................!53 Editing Fundamentals.................................................!28 Editing )tems...............................................................!26 Editing settings...........................................................!26 Em,t. E'ents................................................................// Em,t. )tem...................................................................// Enable 1na,,ing.........................................................36/ Enabling 2lug=ins..........................................................2/ En'elo,e button..........................................................266 En'elo,e default ,oint sha,e......................................2/4 En'elo,e (efaults.......................................................284 En'elo,e Editing.........................................................2/3 en'elo,e editing o,tions.............................................356 en'elo,e lanes.............................................................265 en'elo,e ,oints................................................................. add when ri,,le editing...........................................285 En'elo,e 2oints..........................................................368 en'elo,e ,oints, add when mo'ing items...................285 en'elo,e ,oints, mo'ing with media items.................285 en'elo,e ,oints, reduce data.......................................2/en'elo,e ,oints, reducing...........................................2/en'elo,e ,oints, select multi,le..................................2/5 En'elo,e 1ha,es.........................................................28! en'elo,e, mute............................................................268 en'elo,e, ,la. s,eed...................................................28/ en'elo,e, ,oint sha,es................................................2/3 en'elo,es....................................................................265

En'elo,es............................................................26/, 268 En'elo,es 7indow.............................................265, 266 En'elo,es, ad%usting...................................................2/en'elo,es, b.,ass mode..............................................2/5 en'elo,es, co,.ing with media items.........................2/6 en'elo,es, loc$ing......................................................288 En'elo,es, loc$ing......................................................!8! en'elo,es, ,er media item...........................................2/3 en'elo,es, ,er ta$e......................................................2/3 en'elo,es, sends..........................................................266 en'elo,es, withF ,arameters....................................28! E>...............................................................................3-e;ualisation.................................................................3-E9citer.........................................................................3!3 e9,ander......................................................................3!6 E9,lode all ta$es to new trac$s...................................!53 E9,ort Li'e +ut,ut to (is$.........................................23/ e9,ort to 5)() file......................................................23/ E9,ort #rac$s..............................................................23E9,orting....................................................................23e9ternal de'ice, s.ncing to..........................................335 e9ternal dri'e, installing 6EA2E6...............................3E9ternal Editor............................................................!25 E9ternal F , recording with.........................................8/ F fade cur'e, changing...................................................!46 fade cur'e, sha,e.........................................................!46 Fade )n........................................................................!35 Fade +ut......................................................................!35 Fades, ad%usting..........................................................!46 fades, duration.............................................................../2 File Locations...............................................................28 file management..........................................................365 File, 4ac$u,..................................................................32 File, 2ro%ect...................................................................32 File, 6ea,er 2ea$s.........................................................32 File, 6ender.................................................................236 File, 8ndo &istor.........................................................32 Filter F List..............................................................!!4 Filtering #rac$ F ......................................................!!4 finished song, rendering..............................................233 FLA"............................................................................34 Flanging......................................................................3!4 Floating.........................................................................6Folders, creating............................................................36 Frame 6ate....................................................................34 free item ,ositioning...................................................!4/ Free )tem 2ositioning..................................................../6 Free:e ;uanti:ation.....................................................23free:e trac$s........................................................!2!, !58 fre;uenc. bands..........................................................3-fre;uenc. s,ectrum.....................................................3-F window, seting ,references..................................363 F Add.........................................................................43 F 4us..........................................................................54 F b.,ass.....................................................................5! F 4.,ass.....................................................................52 F F F F F F F F F F F F F F F F F F F F F F F F F F F F F F F F F F F F chain, create default................................................53 chain, ,references.................................................363 co,.........................................................................5! co,.ing.................................................................!!6 (e'ice, e9ternal......................................................8/ distortion...............................................................3!4 filter o,tions..........................................................!!5 filter, auto=clear.....................................................!!5 filtering.................................................................!!4 flanger...................................................................3!4 ?rou,s..................................................................!!3 )nstance, renaming................................................!!/ mo'e.......................................................................5! name, changing default.........................................!!/ ,arameter aliases...................................................!8/ ,arameters, automating.................................28!, 283 ,arameters, automating on the fl..........................285 2erformance 5onitoriing........................................56 ,erformance, o,timi:ing.......................................!2,haser....................................................................3!4 2lug=in 1ettings.......................................................52 ,resets.............................................................5-, 3-2 ,rocessing.............................................................353 2rocessing 2lug=ins.................................................26emo'e...................................................................5! 1a'e "hain..............................................................5! 1a'e "hain as default..............................................5! wah........................................................................3!4 wet*dr. mi9.............................................................52 7indow................................................................4-, a,,l. as new ta$e.................................................!58 , changing name.....................................................!!/ , ,arallel ,rocessing...............................................336 , ,er item................................................................!!8 , rename instance....................................................!!/ , toggle b.,ass.........................................................56 ? ?ain............................................................................3-6 ghost co,.ing..............................................................236 global automation o'erride.........................................2/5 ?lobal 7indow <iews................................................!84 ?lue............................................................................!5?lue selected item.......................................................!6! ?lue selected items.............................................!5-, 3/5 ?lue 1elected )tems....................................................!56 ?o bac$ a little..............................................................33 ?o forward a little.........................................................33 ?o to end of ,ro%ect......................................................38 ?rid.............................................................................368 grid lines.....................................................................!!grid settings.................................................................!!?rid settings................................................................!33 ?rid 1ettings...............................................................36/ grid sna, s,acing........................................................!33 ?rou,..................................................................3/4, 3/6 grou, mode, automation.............................................2// grou, sla'e..........................................................!-4, !-/

grou,ed ,arameters, automation.................................2// ?rou,ing.....................................................................!43 ?rou,ing items...........................................................!5?uitar F 2lug=ins......................................................3!4 & hardware out,uts, s,ecif.ing......................................2-6 harmonies, creating.....................................................!3&ead,hone bleed.........................................................32! head,hone mi9............................................................../head,hone mi9, creating.............................................!24 &ead,hone 5onitoring...............................................!23 &eal 1,lit )tems..........................................................!28 &ide #rans,ort............................................................383 hiding trac$s..................................................................45 high ,ass filter.............................................................3!6 &igh 6ange.................................................................3-hiss remo'al................................................................3-3 &old............................................................................3-/ &ori:ontal 1croll...........................................................44 &ori:ontal @oom...........................................................44 &umani:e notes...........................................................2!3 &umani:e 0otes..........................................................23! ) )*+ 4utton.....................................................................36 image file....................................................................232 im,ort audio from "(...................................................85 im,ort ,references........................................................84 im,orting a ,ro%ect file..................................................68 )m,orting 5edia...........................................................82 im,orting 5)() file......................................................83 )n=Line 5)() Editing..................................................235 indi'idual items, loc$ing.............................................!82 )n,ut Aliasing...............................................................25 in,ut assignment...........................................................64 in,ut monitoring.........................................................35! )n,ut 5onitoring.........................................6/, /-, /8, 8/ )n,ut >uanti:e.............................................................23! )n,ut, Au9illiar...........................................................323 )n,ut, 5ain.................................................................323 )nsert em,t. s,ace at selection....................................3/3 )nsert mar$er A..........................................................3/2 )nsert note...................................................................222 )nsert time signature mar$erA...................................3/3 )nsert trac$..................................................................3/)nserting #rac$ F ........................................................43 )nstall (irector.............................................................28 )nstall 6ea,er onto a 814 $e.......................................23 )nstall 6EA2E6 to 814 $e....................................3!, 32 )nstalled Folders............................................................28 )nstalling 6EA2E6.......................................................!3 )nterface )ssues...........................................................4-2 internet audio, recording...............................................3)n'ert selected ,oints..................................................38! )tem "hannel 5ode....................................................!38 item colours................................................................!48 )tem F , managing.....................................................!!8 )tem ?rou,ing.............................................................!43 )tem 0otes...................................................................!36 )tem 2osition...............................................................!35 )tem 2ro,erties....................................................!35, 333 )tem 2ro,ertiesA........................................3/4, 3/6, 3/8 )tem 1ettings.......................................3/4, 3/6, 3//, 3/8 )tem <olume &andle...................................................!36 item, indi'idual F .....................................................!!8 item, mo'e..................................................................!3item, nudge.................................................................!3item, slide....................................................................!3)tems, loc$ing..............................................................!8! ) * 5i9er...................................................................336 B Besusonic F .................................................................43 %o.stic$ 5)() de'ice, installing....................................26 Bum, #o........................................................................4/ Bum, to 5ar$er...................................................382, 383 C $e.bindings, im,orting...............................................245 $e.board assignment, changing..................................246 $e.board shortcut, assigning multi,le actions............248 $e.board shortcut, assigning to a command se;uence252 $e.board shortcut, creating.........................................245 $e.board shortcut, remo'ing.......................................253 $e.board shortcuts................................4/, !83, 243, 243 Ce.board 1hortcuts.......................................................23 $e.board shortcuts, assigning to a control surface......243 $e.board shortcuts, for recording...............................24/ Ce.board, <irtual........................................................./8 L lameDenc.dll..........................................................2-, 23! Lanes............................................................................./3 lanes, automation........................................................265 Latch...........................................................................263 latenc..........................................................35!, 353, 4-La.ered 6ecording......................................................../Limiter........................................................................3-3 Linear #ime "ode.......................................................336 Li'e +ut,ut.................................................................23/ Load default trac$ chain..............................................385 Loc$ing.......................................................................!8! Loc$ing )tems.....................................................!53, !8! loo, selection................................................................/! loo, selection s$i,,ing.................................................33 loo, selection, lin$ing to time selection......................!34 Loo, 1election, loc$ing..............................................!8! Loo, 1election, managing............................................48 loo, selection, modif.ing..............................................48 Loo,, creating.............................................................!6! Loo,ed ,oints lin$ed to time selection.........................48 Loo,ing.......................................................................!6! Loo,s............................................................................46 low ,ass filter..............................................................3!6

5 macro, creating............................................................248 5ain )n,ut..................................................................323 5ain 5enu..............................................................22, 23 5ain 7indow...............................................................22 5anaging #rac$s..........................................................33 mar$er )ds, reorder......................................................!68 mar$er set, load...........................................................!63 mar$er set, sa'e...........................................................!68 5ar$er utilities............................................................!68 5ar$er, inserting.........................................................!62 5ar$er, naming...........................................................!62 mar$er, sna, to............................................................!63 mar$ers............................................................................. rearranging..............................................................!64 5ar$ers.......................................................................!62 5ar$ers, loc$ing.........................................................!8! 5ar$ers, na'igating....................................................!62 mar$ers, remo'ing......................................................!65 5ar;uee......................................................................!88 5aster.........................................................................4-5A1#E6 out,ut bus....................................................22 5aster 2arent 1end.......................................................36 5aster #rac$...............................................................2-5 5aster, dis,la. in #rac$ <iew......................................33 5easures.......................................................................46 measures, creating from time selection.......................!/3 5edia cli,s....................................................................22 media cues..................................................................!6/ media cues, con'erting to mar$ers..............................!6/ media cues, creating from mar$ers.............................!6/ 5edia E9,lorer...............................................2-, 82, 235 5edia File, inserting.....................................................82 5edia folders shortcuts list...........................................82 5edia )tem 2ro,erties.................................................!48 5edia item settings.....................................................36! media item, sli, editing...............................................!4/ media items, colours...................................................!48 media ,ea$ cache settings...........................................36! 5edia ,reference settings...........................................36! 5enus, customi:ing....................................................253 5eta actions................................................................254 5etronome....................................................................86 5etronome Enabled......................................................86 metronome out,ut.........................................................86 5etronome 1ettings......................................................86 5etronome, automating..............................................286 5id 6ange..................................................................3-5)()................................................................................. e'ent ,ro,erties.......................................................!33 #em,o 5a,.............................................................28/ time signature mar$er.............................................!35 E'ent List <iew.....................................................225 0amed 0otes <iew................................................225 2iano 6oll <iew.....................................................225 5)() Actions..............................................................234 5)() "hannel.............................................................../8 5)() "hannel 4o9.....................................................2!! 5)() data, e9,orting..................................................23/ 5)() (e'ice, installing................................................26 5)() (e'ices.........................................................26, 8! 5)() editing, in=line...................................................2-3 5)() Editor........................................................2!-, 2!8 5)() Editor...................................................................... "" Lane.................................................................2!4 5)() Editor macros....................................................256 5)() Editor 5odes.....................................................225 5)() Editor window...................................................2-3 5)() Editor, creating notes........................................222 5)() files, im,ort o,tions..........................................24! 5)() Files, im,orting...................................................83 5)() filters.................................................................2!5)() &ardware (e'ice..............................................4-! 5)() &ardware +ut,ut.................................................36 5)() in,ut de'ice........................................................./8 5)() )tem...................................................................../3 5)() items, o,tions....................................................24! 5)() $e. ma,,ing......................................................238 5)() octa'e name dis,la. offset........................238, 24! 5)() +ut,ut de'ice, time offset...................................26 5)() ,lug=ins.............................................................238 5)() ,references........................................................24! 5)() 6ecording............................................................/8 5)() 1etu,...................................................................26 5)() #ime "ode........................................................336 5)() trac$ not ,la.ing...............................................4-! 5)()D6outer..............................................................238 midiDtrans,ose............................................................238 5)()D<elocifier.........................................................238 5)(), )nsert 0ote.......................................................2!8 5inutes.........................................................................46 5i9er..........................................................................!3/ 5i9er A,,earance.......................................................2-5 5i9er "olour #hemes.................................................2-4 mi9er la.out o,tions...................................................!3/ 5i9er La.outs.............................................................!3/ 5i9er 1creen 1ets.......................................................2-2 5i9er 1hortcuts...........................................................2-3 5i9er, F 4in.............................................................2-3 5i9er, 1ends 4in........................................................2-3 5i9er, show*hide children..........................................2-5i9er, toggle auto=arrange..........................................2-5i9er, trac$ menus.....................................................2-2 mi9ing channels..........................................................336 5i9ing (own..............................................................283 5onitor )n,ut................................................................6/ 5onitor )n,ut A.........................................................3/3 5on$e.Es Audio...................................................2-, 235ouse, custimising beha'iour....................................35/ 5ousewheel..................................................................44 mousewheel assignments............................................255 mousewheel assignments, changing............................255 5o'e all media into ,ro%ect director............................63 5o'e )tems.................................................................!23 523...................................................................2-, 28, 34 523 format.........................................................23-, 232 5ultiband "om,ression..............................................3!-

multi,le audio out,uts...................................................24 multi,le channels........................................................323 5ulti,le )tem 2ro,erties.............................................!33 multi,le items, adding F ...........................................!!3 multi,le notes, editing.................................................224 multi,le out,ut <1#i....................................................85ulti,le #a$es................................................/2, /4, !55 multi,rocessing...........................................................353 multitas$ing................................................................35! multitrac$ recording......................................................!3 5ute..............................................................................45ute automation en'elo,e, creating...........................268 5ute control conte9t menu.........................................!-2 5ute "ontrols.............................................................!-! 5ute )tem....................................................................!35 5ute notes..................................................................223 mute the 5aster +ut,ut................................................35 mute trac$, toggle.........................................................56 0 0aming trac$s...............................................................63 0a'igation.....................................................................43 0a'igator......................................................................45 0ew 2ro%ect..................................................................6! 0)0BA5.....................................................................33/ 0oise ?ate..................................................................3-/ noise reduction............................................................3-3 0oise 1ha,ing.............................................................233 non=destructi'e editing........................................!26, !53 non=standard stereo channels........................................53 0ormal 6ecord 5ode...................................................64 0ote "hannel..............................................................223 0ote 0ames................................................................22! 0ote 2ro,erties...................................................223, 224 note st.les...................................................................223 note, naming...............................................................225 0ote,ad.........................................................................23 nudge item..................................................................!3+ +?? <orbis..................................................................34 +,acit...........................................................................6+,en file, F set off line..............................................53 +,en items A.............................................................3/5 +,en )tems with Editor...............................................!25 +,en 2ro%ect.................................................................33 +,tions menu..............................................................36/ +ut,ut A.....................................................................!23 +ut,ut Aliasing.............................................................24 +ut,ut, recording..........................................................66 +ut,uts..........................................................................55 +'erdubbing................................................................./o'erla,,ing items........................................................../5 o::ifier........................................................................3!6 2 2an controls..................................................................33 2an "ontrols................................................................!-! ,an law....................................................................35, 4,arallel F ,rocessing........................................336, 338 ,arameter controls, adding to #"2..............................!86 ,arameter grou,ing.....................................................!-3 2arameter modulation.................................................34! ,arent trac$s..................................................................34 2aste F ......................................................................384 2aste )tems..................................................................!23 ,attern se;uencer........................................................238 ,ea$ le'els, reset on <8 meters..................................2-8 ,ea$ limiter.................................................................3!5 ,encil mode.................................................................!5! ,erformance meter......................................................366 2erformance 5eter..........................................56, 58, 352 2erl scri,ts..................................................................258 ,hantom ,ower...........................................................4-! 2hase ad%usting router.................................................3!5 2hase Ad%usting 6outer...............................................338 2hase "ontrol..........................................................4-, 43 2hase in'erter..............................................................3!5 2iano 6oll...........................................................22!, 23,itch change ,lug=in....................................................3!5 ,itch correction...........................................................!32 2itch "orrection..........................................................!32 ,itch correction, automatic..........................................!32 ,itch correction, manual..............................................!32 ,itch mani,ulation......................................................!3,itch shift....................................................................!83 ,itch shift ,lug=ins......................................................!83 ,itch shift, 5)() controlled........................................233 ,itch shifting...............................................................!32itch 1hifting..............................................................32/ 2itch, changing............................................................!83 ,itch, ,reser'e in audio items.....................................!34 2la................................................................................38 2la. all ta$es...............................................................!53 2la. All #a$es......................................................./5, !5/ ,la. cursor, managing.................................................!42 2la. rate..............................................................382, 383 ,la. rate, ad%usting for ,ro%ect....................................!34 2la. 1,eed en'elo,e...................................................28/ 2la. 1,eed, automation...............................................28/ ,la.bac$ beha'iour, customising................................364 2la.bac$ ,references..................................................!42 2la.bac$ 6ate, multi,le items.....................................!33 2la.bac$ 6ate, single item..........................................!33 2la.bac$*6ecording....................................................368 2lug=in Essentials........................................................233 ,lug=in interface, nati'e..............................................362 ,lug=in, co,.ing..........................................................!!6 ,lug=in, noise reduction..............................................3-3 2.2lug=ins......................................................................43 1a'ing 2resets.........................................................../3 2lug=ins, enabling.........................................................2/ ,lug=ins, 5)()............................................................238 2lug=)ns, ,references...................................................363 ,lug=ins, ,resets..................................................3!6, 3!/ 2references....................................................................23

2references, file im,orting............................................84 2references, ?eneral.....................................................33 2references, 5edia........................................................84 2references, 2ro%ect (efaults..............................354, 355 ,references, searching.................................................!!2 2resence 6ange...........................................................3-2reser'e 2itch.............................................................!33 2reset Librar...............................................................3!/ 2reset 5anager...........................................................3!/ 2resets.........................................................................3-2 2re'iew Ce.board.......................................................222 ,re'iew media item ,ea$s.............................................88 2re'iew 0otes.............................................................22,ro%ect consolidation...................................................232ro%ect File 2ath............................................................34 ,ro%ect length................................................................34 ,ro%ect management....................................................365 ,ro%ect notes..................................................................35 2ro%ect 2references..................................................6!, 63 2ro%ect rendering.........................................................23! 2ro%ect 1am,le 6ate......................................................34 2ro%ect 1ettings.....................................................34, !66 ,ro%ect tabs, multi,le.....................................................42 2ro%ect #em,late...........................................................68 2ro%ect #em,late, (efault.............................................63 ,rom,t to sa'e...............................................................88 2unch 6ecording...................................................../-, /! 2.thon scri,ts..............................................................258 > ;uanti:e.......................................................................!/5 >uanti:e..............................................................2!3, 223 >uanti:e e'ents...........................................................223 >uanti:e length...........................................................23>uanti:e ,ositions.......................................................23>uanti:e selected e'ents.............................................23>uanti:e strength........................................................23>uanti:e trac$ 5)() recording...................................23! 6 6atio............................................................................3-6 6ea"om,....................................................................3-/ 6ea"om, com,ressor.................................................328 6ea(ela......................................................................325 6eaFir.........................................................................3-3 6ea?ate.......................................................................3-8 6ea)nsert.......................................................................8/ 6ea5ote......................................................................33/ 6ea5ote 1la'e........................................................3!, 32 6EA2E6 Features summar..........................................!3 6ea,er File #.,es.........................................................32 6EA2E6 +,tions.......................................................36/ 6EA2E6 1elections......................................................22 6EA2E6 #echnical 1,ecs............................................!3 6EA2E6 8ninstall.......................................................23 rea,er=d9,lug=ins.ini.....................................................28 rea,er='st,lug=ins.ini....................................................28 rea,er.ini...............................................................28, 4-2 6ea2itch..............................................................!3-, !3! 6ea6oute.....................................................................383 6ea6oute A1)+ dri'er................................................383 6ea6oute, sending audio from 6EA2E6....................33! 6ea6oute, sending audio into 1onar...........................333 6ea6oute, setting u, a,,s...........................................336ea6oute, with Ableton Li'e......................................336ea6oute, with 1.nth 7or$stations...........................334 6ea1am,lomatic.........................................................332 6ea1cri,t.....................................................................33/ 6ea#une..............................................................!3!, !32 6ea<oice.....................................................................233 6ea "om,.................................................................3!6ecei'e le'els...............................................................55 6ecei'es..........................................................36, 6/, 346ecent 2ro%ects.............................................................33 6ecord.....................................................................38, 64 record additional items................................................../6 6ecord Arm.............................................................64, 65 record arm, automatic...................................................66 6ecord )n,ut...............................................................4-! 6ecord mode.................................................................64 6ecord 5ulti,le #rac$s................................................65 6ecord +ut,ut.............................................................4-! 6ecordF.............................................................................. in,ut.......................................................................3/3 6ecording format..........................................................34 recording format, setting...............................................62 recording formats, mi9ed..............................................83 recording on the fl........................................................64 6ecording out,ut...........................................................66 6ecording +ut,ut 5ode...............................................6/ 6ecording 2references..................................................88 recording ,roblems.....................................................4-! recording with a 'irtual instrument...............................8recording, default trac$ settings....................................83 redo, store multi,le ,aths............................................36/ region............................................................................/! 6egion, editing............................................................!66 6egions, creating........................................................!65 6egions, loc$ing.........................................................!8! 6egistr..........................................................................28 6elease........................................................................3-/ 6emo'e all F ............................................................385 6emo'e all mar$ers from loo, selection.....................3/3 6emo'e contents of selection.....................................3/3 6emo'e 1elected Fil...................................................365 6emo'e selected F ...................................................385 6emo'e selected items................................................3/5 6emo'e selected trac$s...............................................3/6emo'e 1election.......................................................3/2 6ender selected trac$s to stem trac$s..................!2!, 3/6endering............................................................!3/, 23! rendering a finished song............................................233 reset configuration to factor. defaults...........................3! 6eset selected en'elo,e ,oints to :ero*center.............38! 6e'erse items..............................................................!53 6e'erse items as new ta$e..........................................3/5 re'erse media item......................................................!35

6ewind to start..............................................................38 6ewire...................................................................2-, 33/ 6e7ire sla'e mode.......................................................3! 6E files....................................................................!86E files, ,references................................................!86i,,le Editing.............................................................!5! 651, dis,la.ing.........................................................2-5 routing.........................................................................333 6outing............................................................36, 58, 333 6outing E9am,les.......................................................32! 6outing )nterface........................................................346outing 5a...................................................................53 6outing 5atri9........................................58, 65, 34-, 4-routing ,roblems.........................................................4-6outing 7indow.........................................................34622 Files......................................................................2rumble or hum remo'al...............................................3-3 1 sam,le file...................................................................332 sam,le rate..................................................................4-1am,le 6ate................................................................352 1am,les.........................................................................46 sam,les, sa'ing...........................................................!81a'e chain as default for new trac$s...........................385 1a'e F chain.............................................................384 1a'e 2ro%ect..................................................................63 1a'e selected F as chain...........................................384 1cale 8) Elements.......................................................362 1caling........................................................................225 1creen 1ets..........................................................!83, 2-2 screen sets, auto=sa'ing changes.................................!85 scri,ts..........................................................................258 scri,ts, im,orting........................................................258 1croll...........................................................................368 scroll trac$ 'iew............................................................88 1croll 7heel.................................................................33 1crolling........................................................................44 scrub............................................................................!!! scrub settings..............................................................!!! scrubbing.......................................................................33 1econds.........................................................................46 1ee$ ,la.bac$ when clic$ed.......................................!42 1elect All.............................................................3/3, 384 1elect all ,oints in loo, selection................................381elect )tems.................................................................!28 selected area, co,.ing.................................................!3! 1end all $e.board in,ut to ,lugin...............................385 1end le'els....................................................................55 1end 5aster*2arent.......................................................34 1end, creating...............................................................55 1ends.........................................................36, 55, 34, 341ends, using..................................................................55 1et automation mode for all trac$s..............................3/1et automation mode for selected trac$s.....................3/1et ,oint sha,e............................................................381et ,oint 'alue............................................................381et selection to selected items.....................................3/2 1et sha,e for all selected ,oints..................................381et #ime 1ignature......................................................!35 1et timebase for selected trac$s..................................3/1et trac$ colors............................................................3/1how All #a$es )n Lane.............................................!5/ 1how All #a$es in Lanes......................................../3, /4 1how audio configuration on startu,............................3! 1how audio hardware as sources.................................!23 1how 4ig "loc$............................................................33 1how 5aster in trac$ 'iew..........................................3/! 1how 0a'igator............................................................45 1how o'erla,,ing items in lanes................................../5 1how ,la. rate control................................................383 1how ,la. state as te9t................................................383 1how 1creen 1ets........................................................!83 1how selected trac$s in mi9er.....................................3/1how #rans,ort.............................................................38 sidechain.............................................................325, 323 sidechaining........................................................33!, 34! silent ,assages, remo'ing............................................!43 sli, edit, relati'e edging..............................................!4/ 1li, Editing.................................................................!4/ smart tools...................................................................264 1mooth 1ee$...............................................................36/ 1na, (istance.............................................................!32 1na, to ?rid................................................................!32 sna, to mar$er.............................................................!63 1na,*?rid 1ettings......................................................!32 sna,,ing......................................................................!33 software s.nthesi:er....................................................4-! 1oftware 8,dates..........................................................21olo...............................................................................41olo control conte9t menu..........................................!-2 1olo "ontrols..............................................................!-! 1olo )n Front...............................................................!-2 1olos default to in=,lace solo......................................366 1ong 2osition 2ointer..................................................336 sound card...................................................................35! 1ound "ard 1ettings....................................................333 1ound 1ha,ing............................................................233 1ound 1ha,ing 2lug=ins..............................................3-source file, re,lacing...................................................!35 1ource 2ro,erties........................................................!33 1ource 2ro,ertiesA............................3/4, 3/6, 3//, 3/8 1,lit E'ents.........................................................2!8, 223 1,lit )tems...................................................................!28 1,lit items at cursor............................................3/3, 3/5 1,lit items at time selection................................3/3, 3/5 1,lit )tems, &eal.........................................................!28 1,lit notes under mouse cursor...................................223 1,litting "hannels.......................................................323 122 1end.....................................................................336 1tart 5enu 1hortcuts.....................................................2start time, mar$ing........................................................4! start time, setting...........................................................4! 1tarting 6EA2E6....................................................2!, 32 1tem 6endering...........................................................!2! 1te, 1e;uencer............................................................22stereo enhancer...........................................................3!5

1tereo to 5ono con'ersion.........................................!38 stereo trac$, recording...................................................66 1tereo, re'ersing.........................................................!38 1to,...............................................................................38 submi9, rendering.......................................................!22 1urround 5i9ing.........................................................333 171 e9tensions..........................................................253 s.nc to e9ternal de'ice................................................335 1.nchronous F multi,rocessing...............................!21.nthesi:er..................................................................../3 1.sE9 messages..........................................................2!5 1.stem twea$s.............................................................362 # #a$e............................................................................3/4 #a$e command............................................................../4 #a$e, creating b. a,,l.ing F ....................................!58 #a$e, delete acti'e......................................................../4 ta$e, du,licating..........................................................!58 #a$e, ne9t...................................................................../4 #a$e, ,re'ious.............................................................../4 ta$es, arranging...........................................................!55 #a$es, con'erting to se,arate trac$s............................./4 ta$es, editing...............................................................!55 ta$es, en'elo,es..........................................................2/3 ta$es, e9,lode in ,lace................................................!56 ta$es, e9,lode to trac$s...............................................!55 ta$es, e9,loding..........................................................!5/ ta$es, im,loding..........................................................!5/ #a$es, 1howing Lanes................................................../3 #a$es, 1lice and (ice..................................................!5/ tem,late file..................................................................6! #em,late, 2ro%ect..........................................................68 #em,late, #rac$............................................................68 #em,o "hange............................................................!35 tem,o detection...........................................................!/3 #em,o 5a, En'elo,e.................................................28/ #e9t E'ents.................................................................2!5 #he )nstall +,tions........................................................2the 5icrosoft ?1 7a'etable 1.nth..............................8! #hreshold............................................................3-6, 3-/ #ime..............................................................................38 #ime 4ased Effects.....................................................3-! #ime (is,la., customising.........................................365 #ime 1election, $e.board shortcuts..............................48 time selection, lin$ing to loo, selection .....................!34 time selection, modif.ing..............................................48 #ime 1ignature 5ar$er...............................................!35 #ime 1ignature 5ar$er, changing...............................!35 time signature mar$er, inserting..................................!/3 #ime 1tretching...........................................................!33 time unit......................................................................365 #ime=4ased Effects.....................................................233 timebase........................................................................34 #ime(ifference 2an....................................................3!3 #imeline........................................................................46 #oggle 6e,eat...............................................................38 #oggle selected b.,ass...............................................384 #oggle selected offline................................................384 tonifier.........................................................................3!5 #oolbar..........................................................................22 toolbar, customi:e.......................................................26! toolbar, customi:ing....................................................26! #oolbars........................................................................23 toolbars, customi:ing..................................................263 toolbars, floating.........................................................263 #ouch..........................................................................263 #rac$ "hannels...........................................................34trac$ colours..................................................................33 #rac$ "ontrol 5odifiers.............................................!-! #rac$ "ontrol 2ane.......................................................43 #rac$ "ontrol 2anel......................................................36 trac$ control ,anel hel,...............................................!88 #rac$ "ontrols..............................................................33 #rac$ default settings..................................................366 #rac$ Folder..................................................................34 #rac$ F ...............................................................43, !!3 #rac$ F +rder.............................................................5! #rac$ F ,arameters.....................................................5! #rac$ F , co,.ing......................................................!!6 trac$ grou,ing.............................................................!-3 trac$ grou,ing controls...............................................!-6 #rac$ grou,ing indicators...........................................!-4 trac$ inserts...................................................................43 trac$ la.out, modif.ing in mi9er.................................2-! #rac$ 2anel 7idth........................................................43 #rac$ 2anels..................................................................22 #rac$ 2erformance +,tions........................................!2#rac$ 6outing...............................................................36 #rac$ 1olo 4eha'iour.................................................366 #rac$ #em,late, )nserting.............................................68 #rac$ #em,lates...........................................................68 #rac$ <iew screen sets...............................................!83 #rac$ <iews................................................................!83 #rac$, Add 0ew #rac$.................................................55 #rac$, co,....................................................................33 #rac$, delete.................................................................33 #rac$, mo'e..................................................................33 trac$s, ,arent trac$s......................................................34 transient, e9tend selection to......................................!/3 transient, mo'e cursor to ne9t.....................................!/3 transients.....................................................................!/3 #ransients Ciller.........................................................3-/ #rans,ort.....................................................................382 #rans,ort 4ar................................................................38 #rans,ort "ontrol........................................................4-2 tremelo........................................................................3!4 #rim items to selected area.........................................3/5 #rim )tems to 1elected Area.......................................!53 tuner............................................................................3!5 tuning an instrument...................................................!3! 8 8A( ,lug=ins..............................................................!28) #wea$s...................................................................362 8ndo...................................................................../!, !2/

8ndo &istor...............................................................4-3 8ndo &istor. 7indow................................................!2/ 8ndo &istor., load with ,ro%ect file...........................36/ 8ndo &istor., sa'e with ,ro%ect file...........................36/ 8ndo &istor., 1a'e with 2ro%ect File.........................!2/ 8ndo storage area.......................................................!2/ 8ndo*redo ,aths, sa'e multi,le...................................!2/ unfree:e trac$s............................................................!58 8ninstall 6EA2E6.......................................................3! 8ninstalling 6ea,er......................................................23 8n;uanti:e..................................................................238nselect all ,oints.......................................................388,,er 5id 6ange........................................................3-814 flash de'ice..........................................................38se 6uler #ime 8nit...................................................382 < <elocit. &andles.........................................................22! <ertical 1croll...............................................................44 <ertical @oom...............................................................44 'ideo soundtrac$.........................................................338 <ideo 7indow............................................................338 <iews............................................................................58 'irtual instrument, recording with.................................8<irtual 5)() Ce.board......................................../8, 332 'ocal, fattening or doubling........................................3!6 <olume controls............................................................33 <olume "ontrols.........................................................!-! <olume, setting for multi,le items.............................!54 <1# com,atibilit. o,tions..........................................362 <1# 2lug=)n 4eha'iour..............................................362 <1# ,lug=ins...............................................................233 <1# 2lug=ins................................................................2/ <8 le'els ,lug=in........................................................3!5 <8 meters, reset ,ea$s...............................................2-8 7 7A< format...............................................................232 wa'e files, im,orting....................................................84 wa'esha,ing distortion...............................................3!5 7eb Audio..................................................................232 wet*dr. balance.............................................................52 7indow float selected F ...........................................385 7indow screen sets.....................................................!83 7indow <iews...........................................................!84 7indows (e'ice 5anager..........................................333 7indows 6egistr..........................................................28 7indows 1tart 5enu....................................................3! 7rite Automation.......................................................26/
ena$ios e9tensions....................................................253 ena$ios E9tensions...................................................!53 @ :oom beha'iour, s,ecif.ing........................................355 :oom in hori:ontall....................................................4-2 @oom selection....................................................!63, 3/2 @oom 1election...............................................44, 46, !45 @oom to #ime 1election................................................48 @ooming............................................................42, 43, 44

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Up and Running: A REAPER User Guide v 3.

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Up and Running: A REAPER User Guide

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Up and Running: A REAPER User Guide v 3.21

2 REAPER Pro5ec" ,asics........................................................................................33

Up and Running: A REAPER User Guide v 3.21

> Pro5ec" Arrange&en" ,asics................................................................................;3

Up and Running: A REAPER User Guide v 3.21

? *anaging 1rac% and 7"e& F2............................................................................113

= Edi"ing 1rac%s and 7"e&s..................................................................................123

Up and Running: A REAPER User Guide v 3.21

@ Arranging and Edi"ing *u)"ip)e 1a%es...............................................................1??

A Boops9 *ar%ers and Regions.............................................................................1=1

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Up and Running: A REAPER User Guide v 3.21

1 Pi"c! and 1i&e *anipu)a"ion..........................................................................1A;

11 1!e REAPER *i+er and *as"er........................................................................1;@

12 3E(4 *anipu)a"ing and Edi"ing *7:7 7"e&s..................................................2 ;

Up and Running: A REAPER User Guide v 3.21

13 8eyboard 0!or"cu"s9 /us"o& Ac"ions9 *enus and 1oo)bars...........................2>3

1> 3E(4 REAPER Au"o&a"ion..............................................................................2=?

Up and Running: A REAPER User Guide v 3.21

1? E+por"ing Fi)es9 *i+ing :o$n and Rendering.................................................2A;

1= REAPER P)ugCins in Ac"ion..............................................................................2;;

1@ *ore REAPER Rou"ing E+a&p)es....................................................................321

Up and Running: A REAPER User Guide v 3.21

1; 3E(4 REAPERDs Preferences and '"!er 0e""ings ...........................................3?1

2 *ain Rig!"C/)ic% /on"e+" *enus 0u&&ary....................................................3=;

Up and Running: A REAPER User Guide v 3.21

21 ReaRou"e: Using REAPER $i"! '"!er Audio Apps..........................................3A;

22 0o&e '"!er REAPER Fea"ures E'vervie$F.....................................................3;@

Up and Running: A REAPER User Guide v 3.21

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Up and Running: A REAPER User Guide v 3.21

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Up and Running: A REAPER User Guide v 3.21

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Up and Running: A REAPER User Guide v 3.21

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12 3E(4 anipu)a"ing and Edi"ing 7:7 7"e&s..................................................2 ;

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