-

Up and Running: A REAPER User Guide v 4.59

by

Geoffrey Francis
Version 4.59 anuary !"#4

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%er software. For more information about *pen*ffice go to $%%p:&&'''.openoffice.org

arch !""# to $anuary !"%&

,o' %o Use -$is Guide

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

For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) %

Up and Running: A REAPER User Guide v 4.59

ReaRead2 '()P(' books and training manuals printed and bound are now available from
http233stores.lulu.com3store.php4f)cct*D5%1#&#6&

REAPER 4 Un/eas$ed: Un/oc( 0our 1nner REAPER2

7'()P(' -nleashed8 picks up where 9-p and 'unning9.leaves off. This book lifts the lid off '()P(':s most powerful features, including custom actions, menus and toolbars, F; chains, screensets, snapshots, templates, mouse modifiers and more. any resources are supplied, including files with sample mouse modifiers, track templates, custom toolbars and much more. *ts sample work files and do<ens of step by step tutorials will help you to understand how you can use these features in combination with each other to make '()P(' behave for you the way you want it to. =ill it teach you everything that you could possibly ever want to know about '()P('4 ost definitely not. >ut will it help you unlock the creativity inside you to help you get the very best out of this program for yourself4 ost certainly, yes+

Up and Running: A REAPER User Guide

The essential and definitive guide to recording, editing and mi,ing with '()P('. ?ow fully updated for version &.". *ncludes sample pro@ect files and step by step e,amples to help you learn how to use the many features of '()P('. *ncludes special sections on key '()P(' features such as routing and audio channel splitting, as well as numerous e,amples of how to use and apply many of the supplied F; plug.ins. 9-p and 'unning is not only a comprehensive guide to using '()P(', it:s also full of an ama<ing amount of information on audio recording and engineering. * simply cannot recommend it enough+9 . us%in Fran(e/ ACBCCBD *nc and '()P(' DeveloperE.

Rea3i4: 5rea(ing %$e 5arriers 'i%$ REAPER

This book does much more than @ust teach you how to use basic tools Asuch as volume, panning, (F, gates, compressors, delay, reverb etc.E to get an BC mi,. *t also guides you thru the relationships G some simple, some comple, G that e,ist between the dimensions of sound and the dimensions of space. *t guides you to use this knowledge to transform your BC mi,es into great mi,es. )lthough not light on theory, it has a definite practical emphasis, with links to archives containing some &" or so pro@ect files, with step by step e,amples to help you put your knowledge into practice. 9=ow+ Do much good stuff . from mindbending advanced techniHues to solid sensible advice. This guide should have a positive effect on @ust about anybody interested in mi,ing Aand especially those using '()P('E+9 . us%in Fran(e/, Cockos *nc, developer of '()P('.

Fore'ord and Ac(no'/edge)en%s

'()P(' isnIt @ust about software, and it isnIt @ust about making music. *tIs about a whole lot more. '()P(' is a whole entity. *t represents the way music should be, the way the internet should be, the way computers should be, the way program development and licensing should be J. in fact, the way the world should be. *tIs about collaboration and co.operation, and it is truly awesome. *f youIve already laboured or suffered at the hands of some software companies, youIll know e,actly what *Im talking about. *f you havenIt been there, then, believe me, you donIt want to. This -ser /uide could not have been produced without the help of many of the fine people in the '()P(' community. *f * try to mention everybody, *Ill be sure to miss some out, so *Ill @ust mention those whose assistance has been absolutely invaluable2

-nlock your inner '()P(' with REAPER 4 Un/eas$ed2 !

3a/co/) acobson for his efforts in getting together the first '()P(' manual. Ar% Evans for his technical advice and constructive input. 3ario 5ianc$i Aaka 3abianE for his invaluable help with document formatting and layout and for his many constructive suggestions and ideas. )lso, a special 7thank you8 for comprehensively checking the document. 6i)on 3u//ings for his help and suggestions and the patient hours spent on the tedious @ob of proof. reading. 7ar(s%ar and )usicbynu)bers for too many helpful suggestions to mention++ 5evan Fo'(e Aaka 5evosssE for his advice and assistance with custom actions and macros. 6usan G for her assistance and advice, especially Abut not e,clusivelyE on *D* matters. ason 5rian 3erri// for, amongst other things, review and comments. Pipe/ine Audio for the original video tutorials. +$i%e -ie for awesome graphics. 8ena(ios, effos and 6+6 for their e,tension sets. )nd, of course J us%in, 9$ris%op$e and 6c$'a, for bringing us '()P(' Do welcome to '()P('+ This -ser /uide 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, youIll find that there is more than enough information in here to get you 7up and running8. KouIll probably find that some sections contain information that youIll find difficult to understand and which you might not need at first. Kou can @ust skip over those sections and come back to them when youIre ready. *f, like me, you have come to '()P(' with e,perience of other D)= software, youIll 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. KouIll find yourself asking, 7=hy canIt they all be like this48 Kou should also find plenty more to interest you. *t is not intended to be Aand nor will it ever beE a %""L reference manual covering every single aspect and detail of '()P('. *Ive tried to approach the topics in what seems a fairly sensible order, introducing items pretty much on a 7need to know8 basis. *n doing so, *Ive been as careful as * can be to ensure its contents are clear and accurate, but cannot accept any responsibility for any errors or problems you may encounter in applying it to your work. Finally, *Id like to make it clear that Aapart from the e,tract from the CBCCBD =eb DiteE any views or opinions e,pressed here or anywhere else are entirely my own, and have not been endorsed by CBCCBD software or any other person or body associated with '()P(' * hope that you get as much from '()P(' as * have, and that this -ser /uide is more than a little help to you along the way. . /eoffrey Francis, $anuary !"%&

REAPER +eb Resources

The '()P(' pro@ect is a live, dynamic and ongoing one. >e sure to check these web sites often2 http233www.cockos.com3reaper3 http233www.cockos.com3reaper3download.php http233www.cockos.com3reaper3about.php http233www.cockos.com3forum3forumdisplay.php4f5!" http233www.cockos.com3wiki3 The '()P(' Mome Page The '()P(' Downloads Page '()P(' Features summary The '()P(' Forums The '()P(' =iki

6a)p/e Pro:ec% Fi/es

These are available for download from http233www.cockos.com3wiki3inde,.php3'()P('N-serN/uide ?ote that the links are case sensitive. The media files are in . P1 format. Dome of the e,amples outlined in this book reHuire recording further tracks in P1 format. *n order to be able to do this, you will need to have an P1 encoder installed in your '()P(' program directory. The encoder file can be downloaded from a number of locations, including http233www.free.codecs.com3download3OameN(ncoder.htm >e sure to select the correct file for your system. For e,ample, for 1! bit =indows this will be /a)e;enc.d//. )fter downloading the file, simply copy it into your '()P(' program folder. Dtart '()P(', then open the sample pro@ect file and play it. *f you hear no sound, you should check the 1* setting for your aster Track and make sure that output is correctly directed to your sound device.

For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) 1

Up and Running: A REAPER User Guide v 4.59

+$a%<s =e' 1n -$is Edi%ion >.
The last ma@or update of this -ser /uide was version &."". The last interim update before this one was version &.P6. This version of the -ser /uide is &.PQ. *t fi,es a few minor errors, omissions and typos and has more e,planations in some places. Kou will also find changes and new features. The main feature changes and additions and other edits since the last update Aincluding previously undocumented materialE are listed below2

9$anges in 4.59? anuary !"#4

Changes to Dave pro@ect file copy3move media options. ore options to determine how item label names are displayed. )ssociating rendered =)S files with their source pro@ect files. 'aw *D* data command added to *D* (ditor Siew menu.

+$ere ...
Page P& Pages %"1, 1R# Page !"R, 1&6 Page !%Q Pages !%Q to !!" Pages !!Q to !1! Page 1#& Page !1% Pages 1"!, 1"1 Page 1#P

Deveral changes to

*D* (ditor Contents menu. *D* editor options and preferences are selected. *D* (ditor open when active item is deleted in )rrange view.

any changes to how ?ew option to keep

ore 'eaDamplBmaticP""" tips. Bption to put new peak files in peaks subfolder.

For a full list of changes introduced since version &." go to $%%ps:&&d/.dropbo4.co)&u&@@A"5B#"&userguidec$ange/og.pdf Changes to this -ser /uide in the various editions published since &."" and up to this one G including the ma@or update &.P . are summari<ed in the following document2 $%%ps:&&d/.dropbo4.co)&u&@@A"5B#"&userguidec$ange/og.pdf 1)por%an% =o%e: '()P(':s capabilities range far and wide2 there are some aspects that every user will need to know, others that most users will need to know and still others that relatively few users will need to know. Thus, more emphasis is placed on those sub@ects that are likely to be most important to the less e,perienced user. *f you need more information on any topic, one good option is to consult the '()P(' =iki2 '''.coc(os.co)&'i(i&inde4.p$p. )nother is to use the '()P(' forums2 $%%p:&&foru).coc(os.co). =o%e: =ith '()P(':s rapid rate of development, this edition may not be %""L up to date. For a full list of new and recent features, choose the ,e/p? 9$ange/og command from the '()P(' menu. To check for the latest versions of both '()P(' and this -ser /uide, go to $%%p:&&'''.coc(os.co)&reaper&do'n/oad.p$p

-nlock your inner '()P(' with REAPER 4 Un/eas$ed2 &

9on%en%s
# 6e%%ing Up and Ge%%ing 6%ar%ed..........................................................................................#B
%.% Downloading '()P('........................................................................................................................%# %.! *nstalling '()P(' on an BD ; ac.....................................................................................................%# %.1 *nstalling '()P(' on a =indows PC...................................................................................................%# %.& The *nstall Bptions A=indows onlyE....................................................................................................%6 %.P '()P(' Doftware -pdates.................................................................................................................%6 %.R (nabling P1 'ecording....................................................................................................................%Q %.# Dtarting '()P('................................................................................................................................%Q %.6 '()P(' Dtartup Tips.........................................................................................................................%Q %.Q '()P(' Delections, Controls and Commands......................................................................................%Q %.%" The '()P(' Dcreen.........................................................................................................................!" %.%% The Track and Track Controls...........................................................................................................!% %.%! Detting -p For )udio .......................................................................................................................!% %.%!.% Detting -p For )udio APC =indowsE.......................................................................................!! %.%!.! Detting -p For )udio A ac BD ;E...........................................................................................!! %.%1 *nput )liasing..................................................................................................................................!1 %.%& Butput )liasing................................................................................................................................!1 %.%P Detting -p For *D*.........................................................................................................................!& %.%R (nabling SDT Plug.ins......................................................................................................................!P %.%# '()P('Is *nstalled Folders and File Oocation.....................................................................................!R %.%6 Oocali<ation and Oanguage Packs......................................................................................................!6 %.%Q >acking -p Dettings.........................................................................................................................!6 %.!" 'unning '()P(' on a Flash Drive....................................................................................................!6 %.!% '()P(' Dtart enu Bptions A=indows onlyE.....................................................................................!Q %.!! '()P(' File Types...........................................................................................................................1" %.!1 Pops and Clicks...............................................................................................................................1" %.!& -ninstalling '()P('........................................................................................................................1"

! REAPER Pro:ec% 5asics.......................................................................................................A#

!.% Dection Bverview...............................................................................................................................1% !.! Bpening an (,isting Pro@ect...............................................................................................................1% !.1 Pro@ect Dettings.................................................................................................................................1! !.& Directing )udio Butput......................................................................................................................11 !.P The Transport >ar.............................................................................................................................1& !.R The >ig Clock....................................................................................................................................1P !.# Track Controls...................................................................................................................................1P !.6 Pan Oaw and Pan ode......................................................................................................................1R !.Q ?avigation and Tooming....................................................................................................................1R !.%" -sing the ?avigator.........................................................................................................................16 !.%% Track F; >asics................................................................................................................................16 !.%! -sing the Dupplied F; Presets..........................................................................................................1Q !.%1 Controlling Track F;.........................................................................................................................&" !.%& Creating a Default F; Chain.............................................................................................................&% !.%P -sing an F; >us..............................................................................................................................&! !.%R )naly<ing F; Performance................................................................................................................&& !.%# Delections and Ooops.......................................................................................................................&P !.%6 anaging Time and Ooop Delections.................................................................................................&R !.%Q ?avigating by $umping.....................................................................................................................&# !.!" Time and Ooop Delections and the Transport >ar...............................................................................&# !.!% *tem ?ames, >uttons and *cons.......................................................................................................&6 !.!! '()P(' 'outing (ssentials...............................................................................................................&6 !.!1 The 'outing atri,..........................................................................................................................&Q !.!& Docking and Floating.......................................................................................................................P" !.!P The -ndo Mistory =indow................................................................................................................P% !.!R Ceeping a =indow on Top................................................................................................................P%

Up and Running: A REAPER User Guide v 4.59

!.!# ultiple Pro@ect Tabs........................................................................................................................P! !.!6 anaging the Play Cursor................................................................................................................P! !.!Q Ceyboard Dhortcut and ouse Defaults.............................................................................................P!

A Recording 'i%$ REAPER.....................................................................................................5A

1.% Creating a ?ew Pro@ect......................................................................................................................P1 1.! Detting edia Pro@ect Bptions............................................................................................................P& 1.1 Daving the Pro@ect File.......................................................................................................................P& 1.& Creating and ?aming Tracks...............................................................................................................PP 1.P To Prepare and 'ecord Bne Track.......................................................................................................PP 1.R To Prepare and 'ecord ultiple Tracks................................................................................................PR 1.# )uto )rming Tracks...........................................................................................................................P# 1.6 -sing the etronome........................................................................................................................P# 1.Q 'ecording Dtereo Tracks....................................................................................................................P6 1.%" ulti.Channel 'ecording..................................................................................................................P6 1.%% Track Templates..............................................................................................................................PQ 1.%! *mporting an (,isting Pro@ect...........................................................................................................PQ 1.%1 Pro@ect Templates............................................................................................................................PQ 1.%& Oayered 'ecording...........................................................................................................................R" 1.%P Bverdubbing and Punch 'ecording...................................................................................................R% 1.%R ?on.Destructive Punch 'ecording.....................................................................................................R% 1.%# Destructive Punch 'ecording............................................................................................................R! 1.%6 Fades and Crossfades......................................................................................................................R! 1.%Q 'ecording ultiple Takes..................................................................................................................R! 1.!" Dhowing Takes in Oanes...................................................................................................................R1 1.!% -sing Color Coded Takes..................................................................................................................R1 1.!! =orking =ith ultiple Takes.............................................................................................................R& 1.!1 Bverlapping *tems...........................................................................................................................R& 1.!& 'ecording ultiple )dditional *tems..................................................................................................RP 1.!P 'ecording with (mpty (vents...........................................................................................................RP 1.!R 'ecording *D*...............................................................................................................................RR 1.!# Bther *D* 'ecording odes...........................................................................................................R6 1.!6 Oooped Bverdubbing and Oooped Time Delection 'ecording...............................................................R6 1.!Q 'ecording =ith a Sirtual *nstrument.................................................................................................RQ 1.1" -sing icrosoft /D =avetable D= Dynth...........................................................................................RQ 1.1% *mporting edia2 the edia (,plorer................................................................................................#" 1.1! Creating and -sing a edia (,plorer Database..................................................................................#! 1.11 Detting a Default edia (,plorer )ction............................................................................................#1 1.1& *mporting ultiple )udio Files..........................................................................................................#1 1.1P *mporting Part of an )udio File ........................................................................................................#1 1.1R *mporting *D* Files........................................................................................................................#& 1.1# *mporting edia from )udio CD.......................................................................................................#& 1.16 'ecording with )udio F; Plug.ins.....................................................................................................#& 1.1Q 'ecording a TrackIs Butput...............................................................................................................#P 1.&" 'ecording F; Bn Their Bwn.............................................................................................................#P 1.&% 'ecording with (,ternal Mardware F;...............................................................................................#R 1.&! Preference Dettings for 'ecording.....................................................................................................#R 1.&1 Track Preferences for 'ecording.......................................................................................................## 1.&& 'ecording with i,ed Formats..........................................................................................................#6 1.&P '()P(' )udio 'ecording Checklist...................................................................................................#6 1.&R 'ecording an *nternet )udio Dtream.................................................................................................#Q 1.&# Converting )udio edia *tem Format................................................................................................6" 1.&6 edia File *mport Formats...............................................................................................................6"

4 Pro:ec% Arrange)en% 5asics...............................................................................................C#

&.% anaging Tracks...............................................................................................................................6% &.! Track Control odifiers......................................................................................................................6! &.1 Dolo *n Front.....................................................................................................................................61

&.& Dearching the Preferences Dettings.....................................................................................................61 &.P Track Colors......................................................................................................................................6& &.R Color Themes....................................................................................................................................6& &.# Track *cons.......................................................................................................................................6P &.6 Meadphone onitoring.......................................................................................................................6P &.Q Creating a Meadphone i,.................................................................................................................6R &.%" Displaying /rid Oines.......................................................................................................................6# &.%% -nderstanding Dends, >uses, Dubmi,es and Folders..........................................................................66 &.%! Track Folder (ssentials.....................................................................................................................6Q &.%!.% Drag and Drop Folder anagement........................................................................................Q" &.%!.! ?ested Folders.....................................................................................................................Q% &.%1 Track and Track Parameter /rouping.................................................................................................Q! &.%1.% >asic Track /rouping............................................................................................................Q! &.%1.! Track /rouping atri, >asic Controls......................................................................................Q& &.%1.1 Track /rouping *ndicators.....................................................................................................Q& &.%1.& aster and Dlave /roup 'elationships....................................................................................Q& &.%1.P Track /rouping =indow........................................................................................................QP &.%1.R Track /rouping =indow >asic Controls...................................................................................Q# &.%& S- eters on ultichannel Tracks.....................................................................................................Q# &.%P )udio Dcrubbing..............................................................................................................................Q6

5 3anaging -rac( and 1%e) F8.............................................................................................99

P.% /rouping F;......................................................................................................................................QQ P.! Plug.ins Dettings...............................................................................................................................%"" P.1 >acking -p F; Chains and F; Presets.................................................................................................%"" P.& Filtering Track F;...............................................................................................................................%"" P.P Dhowing SDT Folders.........................................................................................................................%"% P.R Copying Track F;...............................................................................................................................%"% P.# F; Fuick Display...............................................................................................................................%"% P.6 oving Track F;................................................................................................................................%"% P.Q Changing the Default F; ?ame..........................................................................................................%"! P.%" 'enaming Track F; *nstances...........................................................................................................%"! P.%% -sing Default F; Parameter Dettings.................................................................................................%"! P.%! Per *tem F;.....................................................................................................................................%"! P.%1 -sing *tem F; with ultiple Takes....................................................................................................%"1 P.%& Bptimi<ing F; Performance..............................................................................................................%"& P.%P F; ?otes and Comments..................................................................................................................%"& P.%R =et3Dry i, and >ypass..................................................................................................................%"& P.%# Plug.in Delay Compensation.............................................................................................................%"P P.%6 Bpening a File in 'ecovery ode......................................................................................................%"P P.%Q Dtem 'endering...............................................................................................................................%"P P.!" 'endering a /roup of Tracks to a Dingle Track...................................................................................%"R P.!% Free<ing and -nfree<ing Tracks........................................................................................................%"R P.!! )udio Dignal Flow Chart2 Tracks and Folders......................................................................................%"6 P.!1 )udio Dignal Flow Chart2 aster Track..............................................................................................%"Q P.!& Mardware Butput F; onitoring.......................................................................................................%"Q P.!P Sertical3Mori<ontal F; Tree Display....................................................................................................%%" P.!R Track Templates 'evisited................................................................................................................%%" P.!# 'ea(ffects -ser /uide Dupplement...................................................................................................%%"

@ Edi%ing -rac(s and 1%e)s.................................................................................................###

R.% -sing an (,ternal (ditor....................................................................................................................%%% R.! (diting *tems in '()P('....................................................................................................................%%% R.1 '()P(':s Dmart (diting.....................................................................................................................%%! R.& Dtandard =indows (diting.................................................................................................................%%1 R.P (diting >ehavior Preferences..............................................................................................................%%P R.R Deparating Ooop Delection From Time Delection...................................................................................%%P R.# Dnapping with Combined Dnap3/rid Dettings.......................................................................................%%R

Up and Running: A REAPER User Guide v 4.59

R.6 Dnapping with Deparate Dnap and /rid Dettings..................................................................................%%R R.Q Trim >ehind =hen (diting..................................................................................................................%%# R.%" The ?udge3Det *tems =indow..........................................................................................................%%6 R.%% edia *tem Properties......................................................................................................................%%Q R.%! edia *tem *cons............................................................................................................................%!" R.%1 *tem ?otes......................................................................................................................................%!" R.%& Coloring *ndividual *tems.................................................................................................................%!% R.%P )d@usting *tem Solume.....................................................................................................................%!% R.%P.% The *tem Solume Cnob3*tem Solume Mandle...........................................................................%!% R.%P.! The Solume Fader................................................................................................................%!! R.%P.1 ?ormali<ing *tems................................................................................................................%!! R.%R Changing *tem Channel ode..........................................................................................................%!! R.%# Take Dource Properties....................................................................................................................%!1 R.%6 '()P(' (diting and )uditioning (,ample..........................................................................................%!1 R.%Q (diting ultiple edia *tems............................................................................................................%!P R.!" Dlip (diting......................................................................................................................................%!R R.!% )d@usting Fades...............................................................................................................................%!R R.!! Crossfades and the Crossfade (ditor.................................................................................................%!# R.!1 Crop Pro@ect to Delection..................................................................................................................%!Q R.!& /rouping *tems...............................................................................................................................%1" R.!P Dtoring and 'ecalling *tem /roups....................................................................................................%1% R.!R /lue Delected *tems.........................................................................................................................%1% R.!# Creating and Copying *tems in Pencil ode.......................................................................................%1! R.!6 *nsert Dpace at Time Delection.........................................................................................................%11 R.!Q 'ipple (diting..................................................................................................................................%11 R.1" Trim to Delected )rea.......................................................................................................................%1& R.1% Free *tem Positioning.......................................................................................................................%1& R.1! ouse odifiers..............................................................................................................................%1P R.11 Dynamic Dplitting . 'emove Dilent Passages......................................................................................%1# R.1& D=D (,tensions...............................................................................................................................%16

B Arranging? 9o)ping and Edi%ing -a(es...........................................................................#A9

#.% #.! #.1 #.& #.P #.R #.# (,ploding Takes to ultiple Tracks......................................................................................................%1Q Crossfades with Takes........................................................................................................................%&" (,ploding Takes in Place....................................................................................................................%&" Play )ll Takes....................................................................................................................................%&" (diting and Comping ultiple Takes....................................................................................................%&% ore Take Commands and )ctions......................................................................................................%&& anaging Comps with the Pro@ect >ay................................................................................................%&P

C .oops? 3ar(ers and Regions............................................................................................#4B

6.% Creating Ooops..................................................................................................................................%&# 6.! Creating and ?avigating with arkers.................................................................................................%&6 6.1 Time Delection Dtart3(nd arkers.......................................................................................................%&Q 6.& Dnapping to arkers..........................................................................................................................%&Q 6.P 'emoving arkers.............................................................................................................................%P" 6.R arker )ctions..................................................................................................................................%P" 6.# Creating and -sing 'egions...............................................................................................................%P% 6.6 The 'egion anager.........................................................................................................................%P! 6.Q Pro@ect >uilding with 'egions.............................................................................................................%P1 6.%" Changing the Pro@ect Timebase........................................................................................................%P1 6.%% arkers and edia Cues..................................................................................................................%P1 6.%! Tempo >ased usic Production........................................................................................................%P& 6.%!.% Time >ased usic >asics.......................................................................................................%P& 6.%1 Pro@ect Dettings...............................................................................................................................%PP 6.%1.% )udio edia *tem Properties.................................................................................................%PR 6.%1.! Creating a Ooop from a Time Delection...................................................................................%PR 6.%1.1 Creating a Ooop from Transients............................................................................................%PR

6.%1.& Transient Detection Dettings..................................................................................................%P# 6.%1.P >eat Correction....................................................................................................................%P# 6.%1.R Fuanti<ing *tems..................................................................................................................%P6 6.%& Dynamic Dplitting............................................................................................................................%P6 6.%&.% Dplitting a edia *tem into Damples.......................................................................................%PQ 6.%&.! Changing the Pro@ect Tempo..................................................................................................%R% 6.%&.1 Creating a Chromatic *D* *tem............................................................................................%R% 6.%&.& Daving and -sing Damples....................................................................................................%R% 6.%P '(; File Dupport..............................................................................................................................%R!

9 Pi%c$ and -i)e 3anipu/a%ion...........................................................................................#@A

Q.% Changing Pitch for *ndividual edia *tems..........................................................................................%R1 Q.! -sing 'eaPitch..................................................................................................................................%R& Q.1 -sing 'eaPitch with ultiple Tracks....................................................................................................%RP Q.& *nstrument Tuning with 'eaTune........................................................................................................%RP Q.P Pitch Correction with 'eaTune............................................................................................................%RR Q.R Changing the Pro@ect Play 'ate..........................................................................................................%RR Q.# Time Dtretching.................................................................................................................................%R# Q.6 Dtretch arkers.................................................................................................................................%R6 Q.Q -sing Time Dignature3Tempo Change arkers.....................................................................................%#"

#" -$e REAPER 3i4er and 3as%er......................................................................................#B#

%".% *ntroduction....................................................................................................................................%#% %".! i,er Commands.............................................................................................................................%#% %".1 i,er Oayouts and Dcreensets..........................................................................................................%#% %".& i,er enu Commands and Bptions.................................................................................................%#! %".P Dhowing and Miding Types of i,er Tracks........................................................................................%#1 %".R =orking with F; in the i,er............................................................................................................%#1 %".# =orking with Dends in the i,er.......................................................................................................%#R %".6 Dhowing Track *cons in the i,er.....................................................................................................%## %".Q anaging the i,er.........................................................................................................................%## %".%" Track Control enus......................................................................................................................%#Q %".%% *ntroducing =indows Dcreen Dets...................................................................................................%6" %".%! i,er )ppearance Preferences........................................................................................................%6% %".%1 Dtereo and Dual Panning................................................................................................................%6! %".%& aster Track Bptions and Dettings..................................................................................................%6& %".%P aster Mardware Butputs..............................................................................................................%6& %".%R aster Track Channels...................................................................................................................%6P %".%# )voiding Channel Oeakage..............................................................................................................%6R %".%6 'eset S- eter Peaks....................................................................................................................%6R

## Pro:ec% 3anage)en% Fea%ures.......................................................................................#CB

%%.% *ntroduction....................................................................................................................................%6# %%.! Detting the Pro@ect Dtart Time..........................................................................................................%6# %%.1 Oocking edia *tems........................................................................................................................%66 %%.& Oocking Track Controls.....................................................................................................................%66 %%.P Pro@ect Oock Dettings.......................................................................................................................%6Q %%.R Customi<ing Colors and Fonts...........................................................................................................%Q" %%.# The Pro@ect edia3F; >ay................................................................................................................%Q% %%.6 The Track anager..........................................................................................................................%QP %%.Q Track Siew Dcreen Dets....................................................................................................................%Q# %%.%" =indows Dcreensets......................................................................................................................%QQ %%.%% )uto Daving Dcreen Dets................................................................................................................!"" %%.%! *tem Delection Dets........................................................................................................................!"" %%.%1 Track, i,er, Transport and (nvelope Oayouts.................................................................................!"% %%.%& Further Pro@ect F; anagement.....................................................................................................!"! %%.%P Track Control Panel and enu >ar Melp...........................................................................................!"& %%.%R -sing ultiple Dockers...................................................................................................................!"& %%.%# ultiple Pro@ect File Sersions..........................................................................................................!"R

Up and Running: A REAPER User Guide v 4.59

%%.%6 )ssociating 'endered =)S Files with Dource Pro@ect Files................................................................!"R

#! 3anipu/a%ing and Edi%ing 3171 1%e)s...........................................................................!"B

%!.% *ntroduction....................................................................................................................................!"# %!.! onitoring an (,ternal Dynthesi<er...................................................................................................!"# %!.1 -sing Track Controls with *D*........................................................................................................!"# %!.& Controlling *D* Data Dends............................................................................................................!"# %!.P )ccessing the *D* (ditor................................................................................................................!"6 %!.R The *D* (ditor =indow..................................................................................................................!"6 %!.# Control Change essages................................................................................................................!%% %!.6 Control Channel >asics.....................................................................................................................!%! %!.Q =orking with *D* (ditor Oanes.......................................................................................................!%! %!.Q.% Dyse, (vents........................................................................................................................!%! %!.Q.! Te,t (vents.......................................................................................................................... !%1 %!.Q.1 >ank3Program Delect............................................................................................................!%1 %!.%" -sing *D* CC Oanes2 Tips and Tricks.............................................................................................!%1 %!.%".% /eneral CC Oane (diting TechniHues.....................................................................................!%1 %!.%".! 'ight Click arHuee Delection..............................................................................................!%& %!.%".1 *ntelligent CC Oane Dropdown Oist........................................................................................!%& %!.%".& %&.bit CC Oanes and )ctions................................................................................................!%& %!.%".P 'esi<ing CC Oane Meight......................................................................................................!%& %!.%% Ooop3Time Delections and Dmart (diting.........................................................................................!%P %!.%! ?avigating the *D* (ditor ain =indow........................................................................................!%P %!.%1 >asic ?ote Delection and anipulation............................................................................................!%R %!.%& The *D* (ditor enus..................................................................................................................!%R %!.%P ?ote Creating and (diting..............................................................................................................!!" %!.%R -sing the Ceyboard........................................................................................................................!!! %!.%# /eneral *D* Program Patches.......................................................................................................!!1 %!.%6 *D* Preview Dcrub.......................................................................................................................!!1 %!.%Q *D* (ditor odes and Siews.........................................................................................................!!1 %!.%Q.% ?ote odes.......................................................................................................................!!1 %!.%Q.! ?ote Dtyles........................................................................................................................!!P %!.!" Fuanti<ing *D* Data....................................................................................................................!!P %!.!% *nput Fuanti<ation.........................................................................................................................!!# %!.!! Mumani<e ?otes............................................................................................................................!!# %!.!1 F1 . The Panic >utton....................................................................................................................!!# %!.!& -sing the *D* (ditor2 a >asic (,ercise...........................................................................................!!6 %!.!P =orking with ultiple *D* Tracks and3or *tems ABverviewE............................................................!!Q %!.!R anaging ultiple *D* Tracks and *tems.......................................................................................!1% %!.!# (diting ultiple *D* *tems............................................................................................................!1! %!.!6 *D* (ditor ouse odifiers..........................................................................................................!11 %!.!Q *D* (ditor )ctions........................................................................................................................!1& %!.1" *n.Oine *D* (diting......................................................................................................................!1R %!.1% Copying *D* *tems in )rrange Siew..............................................................................................!1R %!.1! $oining *D* *tems........................................................................................................................!1# %!.11 (,porting Pro@ect *D*...................................................................................................................!16 %!.1& Feedback 'outing with *D* Tracks................................................................................................!16 %!.1P *D* 'outing, *D* >uses and 'e=ire............................................................................................!16 %!.1R Dome *D* Plug.ins.......................................................................................................................!1Q %!.1# *D* Controlled Pitch Dhift with 'eaSoice........................................................................................!&" %!.16 *D* Preferences Dettings..............................................................................................................!&% %!.1Q 'eaControl *D*.............................................................................................................................!&! %!.&" $D2 *;3 *D*N'outer.......................................................................................................................!&! %!.&% The Dcale Finder............................................................................................................................!&1 %!.&! =orking with Piano 'oll Dynced to Pro@ect )rrange Siew..................................................................!&1 %!.&1 *ntroducing DeHuencer >aby...........................................................................................................!&1 %!.&& -sing *D* CC essages to Control F; Presets................................................................................!&P

%"

#A 9us%o)iDa%ion: Ac%ions? 3ouse 3odifiers? 3enus and -oo/bars...................................!4B

%1.% *ntroduction....................................................................................................................................!&# %1.! '()P(' )ctions (ssentials...............................................................................................................!&# %1.1 The )ction Oist (ditor (nvironment...................................................................................................!&6 %1.& Creating a ?ew Ceyboard Dhortcut...................................................................................................!P% %1.P 'emoving an (,isting Dhortcut.........................................................................................................!P! %1.R Changing an (,isting Cey )ssignment...............................................................................................!P! %1.# (,amples of Possible Dimple Ceystroke )ssignments..........................................................................!P1 %1.6 Ceyboard Dhortcuts for 'ecording.....................................................................................................!P1 %1.Q Ceyboard Dhortcuts for the *D* (ditor.............................................................................................!P& %1.%" Ceyboard Dhortcuts for the edia (,plorer......................................................................................!P& %1.%% )ssigning )ctions to the ousewheel..............................................................................................!PP %1.%! (,porting and *mporting Ceyboard Dhortcuts...................................................................................!PP %1.%1 Creating Custom )ction acros......................................................................................................!PP %1.%& *D* (ditor Custom acros............................................................................................................!P# %1.%P *mporting Dcripts...........................................................................................................................!P# %1.%R -sing a Control Device with '()P('...............................................................................................!P6 %1.%# eta )ctions.................................................................................................................................!R" %1.%6 ouse odifiers............................................................................................................................!R% %1.%Q Daving and 'estoring ouse odifier Dettings.................................................................................!R1 %1.!" *D* (ditor ouse odifiers..........................................................................................................!R1 %1.!% Customi<ing the '()P(' enus.....................................................................................................!R& %1.!! Customi<ing the '()P(' Toolbars...................................................................................................!RR %1.!1 Creating )dditional Custom Toolbars...............................................................................................!RQ %1.!& Creating Dmart Tools......................................................................................................................!#"

#4 REAPER P/ug-ins in Ac%ion.............................................................................................!B#

%&.% =hat )re Plug.ins4..........................................................................................................................!#% %&.! The Three Oaws of Plug.ins..............................................................................................................!#% %&.1 The Five Types of Plug.in.................................................................................................................!#% %&.& )d@usting Plug.in Parameter Controls................................................................................................!#! %&.P Dound Dhaping (ffects2 'ea(F.........................................................................................................!#! %&.R Time >ased (ffects2 Delay................................................................................................................!#1 %&.# Solume Changing Plug.ins2 the Oimiter..............................................................................................!#& %&.6 )nalytical Plug.ins2 the /F;)naly<er.................................................................................................!#P %&.Q -sing F; Presets..............................................................................................................................!#P %&.%" Time >ased (ffects2 'eaSerb..........................................................................................................!#R %&.%% Solume Control with Compression2 'eaComp...................................................................................!#6 %&.%! OBD('Is Transients Plug.ins............................................................................................................!#Q %&.%1 Oiteon:s De.(sser...........................................................................................................................!#Q %&.%& Solume Control with a ?oise /ate...................................................................................................!#Q %&.%P Dstillwell Chorus and Delay (ffects..................................................................................................!6" %&.%R ?oise 'eduction with 'eaFir...........................................................................................................!6% %&.%# ultiband Compression with 'ea;Comp..........................................................................................!6! %&.%6 OBD('Is TimeDifference Pan...........................................................................................................!6& %&.%Q OBD('Is (,citer..............................................................................................................................!6& %&.!" DDTillwell:s Muge>ooty...................................................................................................................!6& %&.!% Dome -nusual $D Plug.ins..............................................................................................................!6& %&.!%.% -tility3bufsave....................................................................................................................!6& %&.!%.! Dstillwell3thunderkick..........................................................................................................!6P %&.!%.1 'emaincalmNorg3tonegate...................................................................................................!6P %&.!! Dome /uitar F; Plug.ins.................................................................................................................!6R %&.!1 Dome Bther '()P(' $D Plug.ins.....................................................................................................!6R %&.!& *nstalling (,tra $D Plug.ins.............................................................................................................!6Q %&.!P Dpecifying SDT Plug.in 'un ode....................................................................................................!6Q %&.!R Third Party Plug.in Presets ............................................................................................................!6Q %&.!# Oosing the /raphic -ser *nterface A/-*E..........................................................................................!Q"

%%

Up and Running: A REAPER User Guide v 4.59

#5 3ore REAPER Rou%ing E4a)p/es...................................................................................!9#
%P.% Controlled >leed..............................................................................................................................!Q% %P.! Dplitting Channels............................................................................................................................!Q! %P.1 Full and Fat Socals with 'eaDelay.....................................................................................................!Q& %P.& '()P(' Dend Types.........................................................................................................................!QP %P.P Channel Dplitting and Pitch Dhifting..................................................................................................!QR %P.R )udio Ducking.................................................................................................................................!Q# %P.# Double Ducking...............................................................................................................................!QQ %P.6 -sing SC) for Track Solume Control..................................................................................................1"" %P.Q 'eaDamplomatic and 'eaDrums.......................................................................................................1"% %P.%" 'ound.'obin ultisampling............................................................................................................1"1 %P.%% ulti Butput SDTi Plug.ins..............................................................................................................1"& %P.%! Parallel F; Processing with the Channel i,ers................................................................................1"P %P.%1 ore Parallel F; Processing............................................................................................................1"# %P.%& Channel Dplitting and Parallel Processing with *tem F;.....................................................................1"# %P.%P Bther Channel 'outing Plug.ins ABverviewE.....................................................................................1"# %P.%R '()P('Is 'outing *nterface............................................................................................................1"6 %P.%# ultichannel Track S- eters.........................................................................................................1"6 %P.%6 Durround Panning with 'eaDurround...............................................................................................1"Q %P.%Q 'outing to3from Bther )pplications with 'e=ire..............................................................................1%% %P.!" *ntroducing 'ea'oute....................................................................................................................1%!

#@ Au%o)a%ion 'i%$ Enve/opes...........................................................................................A#A

%R.% -nderstanding )utomation...............................................................................................................1%1 %R.! )utomation (nvelope ethods.........................................................................................................1%1 %R.1 The Track (nvelopes =indow...........................................................................................................1%& %R.& )vailable Track and Dend (nvelopes..................................................................................................1%& %R.P =riting )utomation..........................................................................................................................1%P %R.R (nvelope Points Bptions...................................................................................................................1%R %R.# =riting ute )utomation.................................................................................................................1%# %R.6 )utomation odes...........................................................................................................................1%# %R.Q /lobal )utomation Bverride.............................................................................................................1%6 %R.%" The (nvelope Panel Controls..........................................................................................................1%6 %R.%% anually )d@usting (nvelopes.........................................................................................................1%Q %R.%! -sing the ouse with (nvelopes.....................................................................................................1!" %R.%1 (nvelope (dit ouse odifiers.......................................................................................................1!" %R.%& anaging )utomation (nvelope Display..........................................................................................1!% %R.%P The (nvelope Panel Controls..........................................................................................................1!! %R.%R anaging and anipulating (nvelopes............................................................................................1!1 %R.%# (nvelope Dhapes...........................................................................................................................1!& %R.%6 (nvelopes in Track Templates.........................................................................................................1!& %R.%Q (nvelope Preferences.....................................................................................................................1!P %R.!" -sing an (nvelopes Toolbar............................................................................................................1!P %R.!% )utomation =ith /rouped Track Parameters....................................................................................1!R %R.!! oving and Copying (nvelopes with *tems......................................................................................1!R %R.!1 )utomation with Track Dends.........................................................................................................1!# %R.!& )utomation with F; Parameters......................................................................................................1!6 %R.!P F; Parameter )utomation in Oearn ode.........................................................................................1!Q %R.!R )utomating a SDT with *D* CC essages......................................................................................1!Q %R.!# )utomating F; Parameters on the Fly.............................................................................................11" %R.!6 )utomation with *tems and Takes...................................................................................................11" %R.!Q )utomation with Mardware Butput Dends........................................................................................11" %R.1" )utomating )utomation.................................................................................................................11% %R.1% )ctions for anaging (nvelopes.....................................................................................................11% %R.1! )utomating the etronome............................................................................................................11% %R.11 -sing the Tempo3Time Dignature and Play Dpeed (nvelopes............................................................11! %R.1& Oocking (nvelopes.........................................................................................................................11!

%!

#B Au%o)a%ion 'i%$ Para)e%er 3odu/a%ion.......................................................................AAA

%#.% The Concept....................................................................................................................................111 %#.! The *nterface..................................................................................................................................111 %#.1 Defining a Parameter for odulation.................................................................................................11& %#.& Defining a Parameter for odification...............................................................................................11R %#.P Parameter odulation with )udio Control..........................................................................................11R %#.R -sing an OFB Dhape with Parameter odulation................................................................................116 %#.# -sing Parameter odulation for Dynamic Compression......................................................................11Q %#.6 >ypass ode...................................................................................................................................1&" %#.Q Parameter odulation -nder Parameter Control.................................................................................1&" %#.%" -sing Parameter odulation with an (nvelope.................................................................................1&% %#.%% Parameter odulation under Didechain )udio Control.......................................................................1&! %#.%! Further )pplications.......................................................................................................................1&1

#C E4por%ing Fi/es? 3i4ing 7o'n and Rendering................................................................A45

%6.% *ntroduction....................................................................................................................................1&P %6.! >atch File Conversion.......................................................................................................................1&P %6.1 Consolidating and (,porting.............................................................................................................1&R %6.& 'endering ) Pro@ect.........................................................................................................................1&# %6.P 'endering a Finished Dong...............................................................................................................1&Q %6.R >atch 'endering..............................................................................................................................1P" %6.# 'endering Delected edia *tems.......................................................................................................1P% %6.6 'endering 'egions...........................................................................................................................1P% %6.Q >urning an )udio CD with '()P('...................................................................................................1P1 %6.%" Daving Oive Butput to Disk.............................................................................................................1PP %6.%% -sing Presets................................................................................................................................1PR %6.%! 'endering in Durround Format........................................................................................................1PR

#9 REAPER<s Preferences and *%$er 6e%%ings ...................................................................A5B

%Q.% *ntroduction....................................................................................................................................1P# %Q.! /eneral Preferences.........................................................................................................................1P# %Q.!.% *mport and (,port Configuration............................................................................................1P6 %Q.!.! Paths and Ceyboards............................................................................................................1PQ %Q.1 ain Pro@ect Preferences..................................................................................................................1PQ %Q.1.% Pro@ect Track3Dend Defaults ..................................................................................................1R" %Q.1.! edia *tem Defaults.............................................................................................................1R% %Q.& )udio Configuration and Dettings......................................................................................................1R% %Q.P )udio Preferences............................................................................................................................1R1 %Q.P.% )udio >uffering ...................................................................................................................1R& %Q.P.! )udio Playback.....................................................................................................................1RP %Q.P.1 )udio Deeking......................................................................................................................1RP %Q.P.& )udio 'ecording...................................................................................................................1RP %Q.P.P )udio Ooop 'ecording...........................................................................................................1RR %Q.P.R )udio 'endering ..................................................................................................................1RR %Q.R )ppearance Preferences...................................................................................................................1RR %Q.R.% )ppearance edia................................................................................................................1R# %Q.R.! )ppearance, Peaks3=aveforms..............................................................................................1R6 %Q.R.1 )ppearance Fades3Crossfades...............................................................................................1RQ %Q.R.& )ppearance, S- eters3Faders..............................................................................................1RQ %Q.R.P )ppearance, Theme (ditor....................................................................................................1RQ %Q.# (diting >ehavior Preferences............................................................................................................1#" %Q.#.% (diting >ehavior, (nvelope Display.........................................................................................1#% %Q.#.! (diting >ehavior, )utomation.................................................................................................1#! %Q.#.1 (diting >ehavior, ouse Preferences.......................................................................................1#1 %Q.#.& (diting Preferences, *D* (ditor............................................................................................1#& %Q.6 edia Preferences..........................................................................................................................1#P %Q.6.% edia, *D* Preferences.......................................................................................................1#R %Q.6.! edia, Sideo3'(;3 isc Preferences........................................................................................1#R

%1

Up and Running: A REAPER User Guide v 4.59

%Q.Q Plug.ins Preferences........................................................................................................................1## %Q.Q.% Plug.ins, Compatibility..........................................................................................................1## %Q.Q.! Plug.ins, SDT ......................................................................................................................1## %Q.Q.1 Plug.ins, 'e=ire3D; ............................................................................................................1## %Q.Q.& Plug.ins, 'eaDcript ..............................................................................................................1## %Q.Q.P Plug.ins, 'ea ote ...............................................................................................................1## %Q.%" Custom -* Tweaks.........................................................................................................................1#6 %Q.%% Pro@ect and File anagement.........................................................................................................1#6 %Q.%! Customi<ing the Performance eter................................................................................................1#Q %Q.%1 Customi<ing -ndo Mistory >ehavior.................................................................................................1#Q %Q.%& 'eset '()P(' Default Dettings.......................................................................................................16" %Q.%P Dome Bther '()P(' Bptions..........................................................................................................16"

!" 3ain Rig$%-9/ic( 9on%e4% 3enus 6u))ary...................................................................AC#

!".% The Track Control Panel Conte,t enu..............................................................................................16% !".! The (mpty Track Oist )rea Conte,t enu..........................................................................................16! !".1 The Timeline and 'uler Conte,t enu..............................................................................................16! !".& The edia *tems Conte,t enu........................................................................................................161 !".P The edia *tems Conte,t Dub. enus................................................................................................16& !".R The 'ecord )rm Conte,t enu.........................................................................................................16R !".# The (nvelopes Conte,t enu...........................................................................................................16# !".6 The Transport >ar Conte,t enu......................................................................................................166 !".Q The 'outing atri, Conte,t enu.....................................................................................................16Q !".%" The F; =indow Conte,t enu........................................................................................................16Q !".%% The edia (,plorer Conte,t enu..................................................................................................1Q" !".%! The *D* *n.Oine (ditor and *D* (ditor Conte,t enus..................................................................1Q%

!# Using REAPER 'i%$ *%$er App/ica%ions and 7evices.....................................................A9A

!%.% =hat is 'ea'oute4..........................................................................................................................1Q1 !%.! Detting -p )pplications for 'ea'oute................................................................................................1Q& !%.1 Dending )udio from '()P(' to )nother )pplication...........................................................................1QP !%.& Dending )udio From )nother D)= )pp to '()P('............................................................................1Q# !%.P -sing '()P(' =ith a Dynth =orkstation...........................................................................................1Q6 !%.R Dyncing to an (,ternal Device..........................................................................................................1QQ !%.# /enerating and Dending Timecode...................................................................................................&""

!! 6o)e *%$er REAPER Fea%ures E*vervie'F....................................................................4"#

!!.% !!.! !!.1 !!.& '()P(' and Sideo...........................................................................................................................&"% 'eaDcript........................................................................................................................................&"! 'ea ote.........................................................................................................................................&"! '()P(' and ?*?$) .......................................................................................................................&"!

!A -roub/es$oo%ing REAPER...............................................................................................4"A
!1.% *nput3Butput *ssues........................................................................................................................&"1 !1.! '()P(' *nterface *ssues..................................................................................................................&"P !1.1 Troubleshooting 'ecord odes and onitoring..................................................................................&"R

1nde4..................................................................................................................................4"9

%&

6u))ary .is% of 6%ep by 6%ep E4ercises >.

)s well as e,planations of '()P(':s features and guidance on how you can use them, this -ser /uide contains a number of step.by.step actual e,amples which are designed to help you learn. These are summarised below2
Creating a default F; chain.............................................&% Oayered recording..........................................................R" ?on.destructive punch recording....................................R% 'ecording multiple takes................................................R! 'ecording a *D* track..................................................RR 'ecording with e,ternal hardware F;..............................#R Creating and using track folders......................................6Q Creating an F; bus.........................................................Q" Track and track parameter grouping................................Q1 aster3slave grouping....................................................QP The track grouping window............................................QP Copying track F;..........................................................%"% (diting and auditioning media items..............................%!& /rouping media items..................................................%1" Creating and using markers..........................................%&Q Creating and using regions...........................................%P% -sing media cues.........................................................%P& =orking with F; in the i,er........................................%#P -sing the width3stereo panner......................................%6! aster track channels AadvancedE.................................%6P Track view screen sets..................................................%Q# *D* Pitch shift with 'eaSoice......................................!&" Creating a custom keyboard shortcut............................!P% Creating keyboard shortcuts for recording.....................!P1 Creating a custom action macro....................................!PR Customising mouse modifiers........................................!R! Customising '()P(':s menus.......................................!RR Create Custom Toolbar.................................................!R6 Creating a custom toolbar.............................................!#" -sing sound shaping F; A*ntroE.....................................!#! -sing time based F; A*ntroE..........................................!#& -sing a limiter A*ntroE...................................................!#& -sing reverb A*ntroE.....................................................!#R -sing a compressor A*ntroE...........................................!#6 -sing a noise gate A*ntroE.............................................!6" -sing noise reduction plug.ins A*ntroE............................!6% -sing a multiband compressor A*ntroE...........................!6! Dimple track routing.....................................................!Q% Channnel splitting and parallel F; processing.................!Q! Parallel F; processing A*ntermediateE............................!Q& Didechaining and ducking.............................................!Q# Double ducking A)dvancedE..........................................!QQ 'eaDamplomatic and 'eaDrums....................................1"% -sing multi.output virtual instruments...........................1"& Parallel F; processing A)dvancedE.................................1"P =riting automation envelopes.......................................1%P (diting automation envelopes A!E..................................1%Q )utomating track sends................................................1!# )utomating F; parameters...........................................1!6 Parameter modulation with audio control.......................11R Parameter modulation for dynamic compression............11Q Parameter modulation under parameter control.............1&" Parameter modulation with sidechain control.................1&! -sing 'ea'oute A%E......................................................1QP -sing 'ea'oute A!E......................................................1Q# -sing '()P(' with a synth workstation.........................1Q6

6u))ary .is% of 3ain -ab/es >.

This -ser /uide includes many instructional and summary tables. *n addition to those in Chapter %Q A'()P(':s Preferences and Bther DettingsE and Chapter !" A'ight.click Conte,t enu DummariesE, the most important of these are2
'()P(':s *nstall Bptions..................................................%6 *nstalled File and Folder Oocations....................................!R '()P(' File Types...........................................................1" Transport >ar Functions...................................................1& ?avigating and Tooming Dhortcuts....................................1R Track F; anagement......................................................&" Ooop and Time Delection Dhortcuts...................................&R Takes anagement..........................................................R& )udio 'ecording Checklist................................................#6 Coloring Tracks................................................................6& *tem F; anagement.....................................................%"1 ove3?udge *tems........................................................%%& arHuee odifiers.........................................................%%& Take Dets and Comp anagement A%E.............................%&! Take Dets and Comp anagement A!E.............................%&1 Take )ctions..................................................................%&& arkers.........................................................................%&6 'egions.........................................................................%P% anaging F; in the i,er...............................................%#1 anaging Dends in the i,er..........................................%#R =indows Dcreen Dets.....................................................%6" -sing multiple dockers...................................................!"P Commonly used CC messages........................................!%% *D* (ditor2 Ceyboard Dhortcuts.....................................!!! anaging Custom )ction acros.....................................!PR Customising the '()P(' enus......................................!R& Customising the ain Toolbar.........................................!R# /uitar F; Plug.ins..........................................................!6R Dample $D Plug.ins.........................................................!6R Channel 'outing Plug.ins................................................1"# Track Parameter and Dend (nvelopes..............................1%& )utomation odes.........................................................1%6 (diting (nvelopes...........................................................1!" anaging )utomation Display.........................................1!% anipulating (nvelopes..................................................1!1 Parameter odulation....................................................11& Pro@ect 'endering (,amples...........................................1&6 Troubleshooting '()P('................................................&"1 'ecord odes and onitoring.........................................&"#

%P

Up and Running: A REAPER User Guide v 4.59

%R

# - 6e%%ing Up and Ge%%ing 6%ar%ed #

#.#

6e%%ing Up and Ge%%ing 6%ar%ed

7o'n/oading REAPER

To download '()P(', visit the download page http233www.cockos.com3reaper3download.php. 'ead the on. screen information carefully Aespecially about 1! bit and R& bitE and be sure to select the correct version for your computer. *f you keep the program for more than R" days then you must purchase a license. To purchase your '()P(' license, go to http233www.cockos.com3reaper3purchase.php )fter downloading you will need to install the program. There are differences in the installation process for BD ; A acE and for =indows APCE.

#.!

1ns%a//ing REAPER on an *6 8 3ac

To install '()P(' on a ac ABD ;E follow this procedure. %. Double.click on the '()P(' disk image A.dmgE file to open it. !. *f you agree to accept the licence conditions, click on Agree to open this file. 1. Drag and drop the '()P(' icon Ashown rightE into your App/ica%ions folder. &. *f you also want to install Rea3o%e, drag this icon too into your )pplications folder. *f you choose not to do this, you can do so later. To pin '()P(' to the dock, simply drag and drop the '()P(' icon from the )pplications folder on to the Dock. =e strongly recommend that you should also, under 6ys%e) Preferences, ensure that for your 3ouse right click is enabled as a secondary button.

#.A

1ns%a//ing REAPER on a +indo's P9

To install '()P(' on a PC with =indows you should follow this seHuence2 %. *n =indows (,plorer, find the install file. The file name includes the current version number, e.g. reaper4"-ins%a//.e4e. !. Double click on this file to start the install program. 1. Click the 1 Agree button to accept the conditions and continue. &. For a normal install, accept the default folder offered to you Abut see note belowE . for e,ample, 9:GProgra) Fi/esGREAPER. P. *f you need to, enable the Por%ab/e ins%a// option Asee note belowE, then click =e4%.

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Up and Running: A REAPER User Guide v 4.59

R. #. Delect which elements you wish to install Aif in doubt accept the default settings . see also section %.& belowE and click on 1ns%a//. =ait while the program installs. =hen prompted, click on 9/ose to close the *nstall program. Kou will be asked if you wish to run the program now2 in this case, choose =o.

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

#.4

-$e 1ns%a// *p%ions E+indo's on/yF

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

1%e)
Audio Processing P/ug-ins

E4p/ana%ion
This is a collection of )udio and *D* F; that is supplied with '()P(' G such as a Compressor, a ?oise /ate and a Dynthesi<er. -sually you should make sure this option is ticked. This allows you to work with file formats such as =avPack as well as Sideo files. P1, B//,, FO)C and

9o)pressed Fi/e 6uppor% 9us%o)iDa%ions Addi%iona/ Func%iona/i%y

This allows for the use of (uropean keyboards and offers you the option to later choose any of a number of color schemes for '()P('. This allows you to install elements such as the edia (,plorer, CD 'ipping3>urning, Control Durface Dupport and 'e=ire. These aspects will be discussed at various places in this guide. *f you are new to '()P(', or to audio software in general, you might wish not to install at this stage the 'ea'oute )D*B driver, nor 'e=ire nor 'ea ote. This makes for simpler options when audio routing. Kou can always add these later. Oeaving this option selected ensures that a '()P(' shortcut icon will be placed on your =indows desktop. Oeave this option ticked to ensure that '()P(' is added to your =indows Dtart enu. Ticking this option will enable you to open '()P(' with any of your '()P(' Pro@ect files direct from =indows (,plorer or any desktop shortcut that you might create for your pro@ects.

7es(%op 1con 6%ar% 3enu 6$or%cu%s Associa%e 'i%$ RPP Fi/es

#.5

REAPER 6of%'are Upda%es

'()P(' is updated freHuently and regularly, with bug fi,es, new features and other enhancements. Kou can check for updates at any time by visiting $%%p:&&'''.reaper.f)& Dimply download and install. There is no need to first uninstall any previous version. (,isting preferences and settings will automatically be carried over. -ip2 '()P(' is freHuently updated. )n option is available under *p%ions? Preferences? Genera/ ADtartup DettingsE to have '()P(' automatically check for updates each time the program is started Aprovided of course that you are on.line at the timeE. >y default, this option is enabled. *f you do not wish to be notified whenever a new version is available, you can disable it.

-nlock your inner '()P(' with REAPER 4 Un/eas$ed2 %6

# - 6e%%ing Up and Ge%%ing 6%ar%ed

#.@ Enab/ing 3PA Recording

*f you are intending to record and3or mi, down your recordings in, or convert other recorded material to, P1 format, you will need to install an P1 encoder. ) suitable encoder is O) (, which is available free of charge. This can be obtained from any of many web sites, including http233aegiscorp.free.fr3lame3 )fter downloading, ac users should un<ip the file and then drag the dynamic library file Anamed something like /ib)pA/a)e.dy/ibE into their '()P(' application launch folder. =indows users should copy the file /a)e;enc.d// into their '()P(' Program directory, which by default will be 9:GProgra) Fi/esGREAPER. *t can also be copied to other applications that may need it Ae.g. )udacityE.

#.B

6%ar%ing REAPER

To start '()P(', @ust double click on the '()P(' desktop icon. Kou might also wish to consider creating a keyboard shortcut for this. For =indows users, this is done using the 6$or%cu% tab of the icon:s Proper%ies dialog bo,. 'ight.click over the icon to display this.

#.C

REAPER 6%ar%up -ips

>y default, '()P(' opens with the last used pro@ect. )s you will see later in this chapter, you can change this behavior if you wish. *n addition, you can use hot keys when starting '()P(' to override the default settings. Ac%ion Bpen '()P(' without loading last pro@ect. Bpen '()P(' without loading any default pro@ect template. 5oos%er HeyEsF 6$if% Awhile starting '()P('E 9%r/ 6$if% Awhile starting '()P('E

#.9

REAPER 6e/ec%ions? 9on%ro/s and 9o))ands

=orking in '()P(' involves making selections and giving commands. For e,ample, to copy a single item you would select the item Ausually using your mouseE and then give the command for '()P(' to copy it. Bther times, you will use commands that affect the whole pro@ect file without any selection. For e,ample, you might wish to save all your work. *n that case, there would be no need to select anything G you would only need to give the necessary command. There are four main methods commonly used to give commands in '()P('2

3e%$od
-$e 3ain 3enu 9on%e4% 3enus -oo/bars Heyboard 6$or%cu%s

9o))en%
)s with other applications, this is accessed by the mouse or keyboard. Click your right mouse button over an item or area of the screen to display a conte,t menu relevant to where you have clicked. Click your mouse on any toolbar button for its command to be e,ecuted. any commands and actions can be accessed by keyboard shortcuts. Kou can also assign own shortcuts to other commands and actions. Chapter %1 will show you how. *n some cases, different modifier keys are used for the PC and for the ac. The e,amples used throughout this guide are PC A=indowsE shortcuts. ac users should refer to this summary table of similarities and differences2 P9 E+indo'sF Hey Dhift Control )lt =indows 3ac E*6 8F Hey EIuiva/en% Dhift Command Bption Control

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Up and Running: A REAPER User Guide v 4.59

#.#" -$e REAPER 6creen

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

E/e)en%
-$e 3enu 5ar

E4p/ana%ion
This displays the 3ain 3enu near the top as a row of commands G Fi/e? Edi%? Vie'? 1nser%? 1%e)? -rac( and so on. )s in other ac and =indows applications, the menu is used to give commands. $ust below the menu are two rows of seven buttons each. This is the '()P(' ain Toolbar. Depending on the color theme in use, your buttons might not look the same as those shown. Mowever, as with other programs, you can hover your mouse over any button to obtain a tooltip Asee e,ample, leftE. *n Chapter %1 you will be shown how you can customi<e this toolbar. -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 !"

-$e 3ain -oo/bar

# - 6e%%ing Up and Ge%%ing 6%ar%ed

E/e)en%
-$e -i)e/ine

E4p/ana%ion
The timeline runs across the top of the '()P(' window, @ust to the right of the main toolbar. *t measures the length of your pro@ect and helps you identify the position of the various media items. *n the e,ample shown, the timeline is measured and displayed in both measures and beats AtopE and minutes and seconds AbelowE. This is to the right of the Track Control Panel. *t displays the actual media items Aaudio and3or *D*E that make up your tracks. *n this e,ample, there is one )edia i%e). Sideo items can also be included, but that is beyond the scope of this guide. This area is used to control the behavior of your audio and *D* tracks G in this e,ample there is one track, labelled usic. Bf course you can have as many tracks as you need, sub@ect only to any limitations imposed on you by your hardware. ?otice that each track has its own set of controls. =e:ll get to what these controls do and how they are used in Chapters ! and &. Tooltips are available for each of these Asee e,ample, leftE. This is used to control recording and playback G for e,ample, to start and stop recording. =e:ll look at this in Chapter !. This is displayed Ain this e,ampleE across the bottom of the screen. *t displays your tracks in a different way. *n this e,ample one track is shown2 this is the same track as is shown in the TCP. ?otice that this also includes a 3as%er output track. The output of the aster is what you actually hear when you play your tracks and media items. The i,er and aster will be e,plored in detail in Chapter %".

-$e Arrange Area: 3ain +indo' and +or(p/ace2 -$e -rac( 9on%ro/ Pane/ E-9PF

-$e -ranspor% 5ar -$e 3i4er and 3i4er 9on%ro/ Pane/

DonIt be surprised if your screen doesnIt look Huite the same as this, or even if it looks a lot different. The '()P(' screen can be customi<ed to suit your individual needs. =eIll be covering this in Dection !.

#.##

-$e -rac( and -rac( 9on%ro/s

*f you:ve used other D)= software before you:ll probably want to get to grips with '()P(':s track controls as soon as possible. This illustration shows the most commonly used of these. *n most cases you click on a control to use it Afor e,ample, click on ute button to toggle mute status of any track, click and drag on Solume control to ad@ust the volume levelE, and right click on the control for a menu of commands, options and3or settings. ?ewcomers to digital audio, don:t worry. )ll of these controls wil be e,plained in detail as you progress thru this guide.

#.#!

6e%%ing Up For Audio

>efore you can record or play anything, there are a few setup options that have to be specified. This section covers setting up audio. This is where you tell '()P(' which audio deviceAsE you have, and how you wish to use them. There are differences in how you should do this for a ac under BD ; and a PC under =indows *n addition, it is also advisable to disable 6ys%e) 6ounds. For BD ; users, this is done in Dystem Preferences. =indows users should use the Control Panel.

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Up and Running: A REAPER User Guide v 4.59

#.#!.# 6e%%ing Up For Audio EP9 +indo'sF

To set up your )udio Device, first choose the *p%ions? Preferences command from '()P(':s ain enu, then under Audio select 7evice from the list on the left. *n the e,ample shown below, an e,ternal device, a .)udio Delta %"%" PC* sound card, has been installed in the computer. This is one e,ample of the many devices available. *f on the other hand you plan to use the PC:s internal sound card, you should familiari<e yourself with its control software Ausually opened from the =indows Control PanelE. This is especially important to prevent previously recorded material from being mi,ed back in, and re.recorded with, new material when more tracks are later overlaid. Kou should also consider using )D*B&)OO drivers, which are available free of charge. For more information, see en.wikipedia.org3wiki3)udioNDtreamN*nput3Butput Bn the )udio Device Preferences screen, you should set the following options2 1%e) Audio 6ys%e) Enab/e 1npu%s 1npu% Range 9o))en% The other items on this screen will vary with the audio system selected . Choose A61* and A61* drivers if they are available for your sound card or Firewire or -D> device. This option needs to be turned on AtickedE if you wish to use '()P(' for recording. *f your device has multiple inputs, specify the first and last of these that you want to be available. *n this e,ample, eight inputs are available. This enables up to eight microphones or lines Ain any combinationE to be used simultaneously for recording. *f your device has multiple outputs, specify the first and last that you wish to be available. -sually, your )DT(' bus will direct output to a single pair of outputs, but you can use the others also if you wish. Kou can set sample rate and block si<e either here or using your sound card:s own control software. *f unsure, start with &&%"" and P%!. Clicking this button gives you direct access to the Control Doftware for your sound card or other audio device.

*u%pu% Range

ReIues% sa)p/e ra%e&b/oc( siDe A61* 9onfigura%ion

#.#!.!

6e%%ing Up For Audio E3ac *6 8F

)udio devices on the BD ; are set up and selected in the BD ; Audio 3171 6e%up. ake sure you have first downloaded and installed the latest ac updates Kou should also check your )udio Device in '()P('. To do this, start '()P(' and choose the *p%ions? Preferences command from '()P(':s ain enu, then under Audio select 7evice from the list of headers in the column on the left.

-nlock your inner '()P(' with REAPER 4 Un/eas$ed2 !!

# - 6e%%ing Up and Ge%%ing 6%ar%ed

*n the first e,ample shown below, a -D> Daffire device Aa Focusrite Daffire Pro &"E has been installed. Daffire has therefore been selected so as to ensure that this device is used for both input and output. Kou can Aas shown hereE set the sample rate and block si<e Awhich helps determine latencyE here, or you can independently open the device:s own control panel and set them there. *f unsure, set these at &&%"" and P%! to begin with. *f you wish to use the ac:s internal sound card, you may need to take steps to prevent e,isting material being mi,ed back into, and re.recorded with, additional tracks when they are added later. To do this, you will need an aggregate device. Bpen the BD ; Audio 3171 6e%up then click on the J in the bottom left corner of the window to create such a device. )dd to this aggregate device the built in input and built in output as shown here. *f you wish to rename it, double click on the te,t )ggregate Device. ?e,t, in '()P(':s Audio? 7evice preferences screen, select your aggregate device and App/y your changes. Kou will now be able to use your headphones with the computer:s audio out socket and your microphone with its audio in socket.

#.#A

1npu% A/iasing

'()P(' supports 1npu% A/iasing. This is the ability to give your own names to your audio inputs. *t can be used to shorten the long names that the system will often give to these inputs, especially when your device supports multiple inputs. )n e,ample of the use of this feature might be to change names like Ana/og 1n # 7e/%a #"#" E#F, Ana/og 1n ! 7e/%a #"#" E#F and so on to @ust 3ic&.ine #, 3ic&.ine !, etc. *nput )liasing is accessed from the Audio Preferences screen. Delect 1npu% 9$anne/ =a)e A/iasing&Re)apping. The method is similar to that used for output aliasing G see section below.

#.#4

*u%pu% A/iasing

'()P(' also supports *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 sound card or other audio device provides multiple outputs. For e,ample, one pair of outputs might be connected to your control room monitors, another to studio monitors, and a third pair to a multi.output headphone monitor. >y default, your outputs will have names something like those shown here Aabove rightE. Clearly, these names are not very useful to you. >y assigning aliases to these outputs, you can ensure that whenever you need to list them Afor e,ample, when For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) !1

Up and Running: A REAPER User Guide v 4.59

determining the destination of the output from your hardware device names. E4a)p/e To create output aliases2 %. Choose the *p%ions? Preferences command. !. Display the Audio page and in the section labelled 9$anne/ =a)ing&3apping make sure you have ticked the option *u%pu% 9$anne/ =a)e A/iasing Athis is almost the last item on this screenE. 1. Click on the Edi% =a)es&3ap button for this item. &. Double.click in the )liased ?ames column on each item in turn to edit them. *n each case, after typing your preferred alias, click on *H to return to the *u%pu% 9$anne/ A/ias&3apping window ArightE. P. Click on *H to close this window and return to the Preferences dialog bo,. R. Click on *H to close the Preferences dialog bo,. Kour specified names should now automatically be used throughout '()P('. The topic of actually assigning outputs to tracks will be covered later, beginning with Chapter !. asterE your own names will be displayed, instead of the

#.#5

6e%%ing Up For 3171

*f you intend to use *D* at all, you should enable your *D* devices. any PC* sound cards, Firewire and -D> audio devices include a *D* input and output port Afor use, for e,ample, with a *D* CeyboardE. Choose *p%ions? Preferences from the ain enu, then display the 3171 7evices screen under Audio. Kou can select in turn each of the listed *D* *nput and Butput devices, right. click over its name, then choose Enab/e 1npu%. Kou can double.click on any input device name to display its 9onfigure 3171 1npu% settings Asee below rightE. This enables you to assign your own name Aor aliasE for the device, or to specify your

-nlock your inner '()P(' with REAPER 4 Un/eas$ed2 !&

# - 6e%%ing Up and Ge%%ing 6%ar%ed

advanced timestamp options Aif reHuiredE. Kou can also Enab/e inpu% for con%ro/ )essages if you wish to use the device as a *D* controller G see also Chapter %1. To assign your own name or to specify a time offset for any *D* *nput or Butput device, right click over the device name and choose 9onfigure *u%pu% from the conte,t menu. . *f you have a @oystick that you wish to use with '()P(' you should click on the Add :oys%ic( 3171 button then select the device name and processing mode. Kou can also specify whether you wish to use it for Sirtual *D* Ceyboard input an3or as a *D* control3learn device. *f you wish to use a Control Durface, such as a >ehringer >CF!""" or >C'!""", with '()P(', then you should set its input mode to 9on%ro/ *n/y. The use of Control Devices will be e,plained later in this guide, notably in Chapters %% and %1.

*%$er Audio Preferences

Kou can see that there are other )udio Preference screens that we have not yet e,amined, including 5uffering, P/aybac( and Recording. These will be dealt with later in this -ser /uide, particularly in Chapter %Q. =hen getting started, you should be able to @ust leave these settings at their defaults, only returning to change them later if you find that you wish or you need to do so. =hen finished, clicking on *H will, of course, close the Preferences bo, and cause your settings to be remembered. This section has covered the general issues involved in setting up your system for working with *D*. For pro@ect specific settings and options, see Chapter !. *n particular, if you are working primarily with *D* material you may wish to change the default pro@ect timebase setting. This too is e,plained in Chapter !.

#.#@

Enab/ing V6- P/ug-ins

ThereIs one further Preferences screen you will probably want to visit before you get started G V6- P/ug-ins. )s with )udio Preferences, '()P(' has several pages of Plug.in Preference screens, but these can Aat first at leastE be left to their default settings. Mowever, if you already have a collection of SDT and3or SDTi Plug. ins on your computer, '()P(' needs to be told where to find them. To do this, choose the *p%ions? Preferences command, then select V6- under the P/ug-ins section.

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Up and Running: A REAPER User Guide v 4.59

Kou can leave most settings as they are Aat least for nowE, but you may need to click on the Add button to specify the locationAsE of the folderAsE where your SDT plug.ins are stored. BD ; uses two 7built in8 folders for installing shared plug.ins. These are K&.ibrary&Audio&P/ug-1ns and K&Users&Lyour accoun%M&.ibrary&Audio&P/ug-1ns . '()P(' will scan these by default2 you should, however, check that they are automatically listed as your SDT plug.in paths. *f not, you should add them. =indows does not locate any such folders for you. Kou will need to identify and specify where your SDT plug.ins have been installed. *f your SDT plug.ins are spread across more than one folder Athis is not unusualE, you will need to use the Add button several times, each time selecting one of your folders. -se the *H button in the 5ro'se for fo/der window each time after selecting the folder name. Clicking the Re-scan button in the above window will then make the contents of your SDT and SDTi folderAsE available immediately. '()P(' will also scan any subfolders. '()P(' will automatically scan your SDT folders each time the program is launched. Kou can also return to this screen at any time and add more SDT folders later. Dpecify the e,tra locationAsE of your SDT plug.ins, then Rescan then App/y then *H to close this screen and cause your new settings to be remembered. Kou can find more information about the various SDT Preferences settings and options in Chapter %Q.

#.#B

REAPERNs 1ns%a//ed Fo/ders and Fi/e .oca%ion

REAPERNs 1ns%a//ed Fo/ders and Fi/e .oca%ions

-$e Regis%ry E+indo's on/yF =indows users note2 '()P(' does not store any install data, settings or preferences in your =indows 'egistry. =indows will set up an item for '()P(' under MC(KN OBC)ON )CM*?(, Doftware but it contains no data other than keeping a record of your file movements in 'egistry areas such as its 3U19ac$e and creating file associations, so that you can open .'PP files Afor e,ample, in =indows (,plorerE by double.clicking on them. BD ; installs '()P(' to its App/ica%ions folder. Copy any PDF files Asuch as this -ser /uideE that you want to be able to access from '()P(':s Melp enu to2 Luserna)eM&.ibrary&App/ica%ion 6uppor%&REAPER =ith some versions Ae.g. OionE you may need to hold down the Bptions key while displaying the /o menu to make this path accessible. -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 !R

-$e REAPER 1ns%a// 7irec%ory O *6 8

# - 6e%%ing Up and Ge%%ing 6%ar%ed

REAPERNs 1ns%a//ed Fo/ders and Fi/e .oca%ions
-$e REAPER 1ns%a// 7irec%ory - +indo's >y default, '()P(' on =indows installs to 9:GProgra) Fi/esGREAPER Copy into this directory any PDF files Asuch as this -ser /uideE that you want to be able to access from '()P(':s Melp enu. Dome of the optional install items are held in sub.folders of 9:GProgra) Fi/esGREAPER. These include the CBCCBD 'eaPlug SDT plug.ins and Aif installedE the D=D (,tensions. )nything stored in this directory is accessible to all users of '()P(' on this computer. ost '()P(' features Asuch as configuration files and custom settingsE are placed into an )pplications Data or )ppData folder. The location of this will depend upon which version of =indows you are using. To access the '()P(' )ppData or )pplication Dupport folder, choose *p%ions? 6$o' REAPER resource pa%$... from '()P(':s main menu. Dome of the main items you can e,pect to find there are listed below. Kou should find that you have a number of sub.directories here, such as2 9o/or -$e)es 3enu6e%s 9onfigura%ions Prese%s 9ursors Pro:ec% 5ays 7a%a Pro:ec%-e)p/a%es Effec%s PueuedRenders F89$ains 6crip%s Hey3aps -rac(-e)p/a%es any of these are self.e,planatory, especially those which contain the various files and items that you can create yourself as an aid to managing your '()P(' pro@ects. For e,ample, any F; Chains that you create will be stored on the F;Chains sub.directory. Custom menu and toolbar data is stored in the enuDets sub.directory, and so on. Topics such as creating F; Chains and Custom enus are covered elsewhere in this user guide. *nformation held in the 7a%a directory includes track icons and toolbar icons. The Effec%s folder is where your $D effects are stored. prese%-vs%-p/ugna)e.ini REAPER.ini reaper-d4p/ug-ins.ini reaper-vs%p/ug-ins.ini reaper-reginfo.da% reaper-reginfo.ini reaper-recen%f4.ini screense%s.ini 6pecify 7efau/% Pa%$s for Recording and Rendering For each SDT plug.in, a separate file is used to store any presets that you have created or imported. This includes all of your Bptions, Preferences settings, information about your last screen layout, and your recently used pro@ects history. These files store information about your installed plug.ins. Dtore your product registration data This file stores a list of your recently used F;2 this list is used to produce the 'ecently -sed F; submenu that is available in the i,er. This file stores details of your windows screen sets. ?ote that track screen sets are stored with the relevant .'PP file. Kou can use the Genera/? Pa%$s page of your *p%ions? Preferences to specify default paths for your recorded media items. ?ote however that any path specified in your Pro@ect Dettings will take precedence over this. Kou can also specify default paths for your waveform peak files and for pro@ect rendering.

-$e App/ica%ion 7a%a& 6uppor% 7irec%ory 6ub 7irec%ories

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Up and Running: A REAPER User Guide v 4.59

ThereIs one more thing that might interest you here. )ll of the settings, preferences and custom files are te,t files. )ny of them can be opened and modified using a te,t editor such as ?otepad. This even applies to '()P('Is pro@ect files, with .'PP e,tension. Bf course, most probably you will never need to do this, and if you do, you should always take a copy first, @ust in case of any errors or accidents. Mowever, you should never try to use a te,t editing program to open, view or edit any file ending in .app, .d)g, .e4e or .d//

#.#C

.oca/iDa%ion and .anguage Pac(s

Delecting a language pack causes '()P(' to use that language for its menus, dialog bo,es, tool tips, and so on. The default language is -.D. (nglish. Oanguage packs are managed from the Genera/ page of '()P(':s Preferences. To see what language packs are available, and to download any, click on the link 7o'n/oad /anguage pac(s Asee belowE. This will take you to a -'O where you can follow the links Aincluding to '()P(' DtashE to find your language. )fter downloading, close the Preferences window and use the command *p%ions? 6$o' REAPER resource pa%$ in E4p/orer&Finder to display '()P(':s resource folders. ?e,t, drag and drop the downloaded fileAsE into the OangPack folder. To select a language pack other than -.D. (nglish, select from the drop down list ArightE and click on *H. Kou will need to restart '()P(' for the language to take effect.

#.#9

5ac(ing Up 6e%%ings

*n this chapter you have been introduced to some of '()P(':s settings and preferences. )s you progress, you will find many more. Kou can back up these settings and preferences at any time. This can be a good precaution to take against system failure, and can also be used to ensure identical '()P(' installations on two or more machines. The procedure for doing this is e,plained in Chapter %Q under the heading 7*mport and (,port Configuration.8 Don:t be concerned if you do not yet understand the meaning of many of the options. $ust keep it in mind that this facility is always available. *f uncertain about what to back up, it can be a sensible precaution to backup all your configuration settings from time to time, each time to a new 'eaperConfig.<ip file. Mow often you should do this really depends on how often you make changes to any of your settings, and how important those changes are to you. 'emember to keep a copy of your 'eaperConfig.<ip files off line, for e,ample on an e,ternal drive or a -D> flash drive.

#.!" Running REAPER on a F/as$ 7rive

Kou can install '()P(' on a -D> flash device, or other e,ternal drive. This ensures, for e,ample, that if you are going to be away from home or your normal workplace, you can take your -D> Dtick Aor e,ternal driveE with you, plug it in to a computer, and away you go. >efore you can install '()P(' on a flash drive, it makes sense to first install it on your hard drive. =hen you then install '()P(' to an e,ternal device in this way, all your settings, preferences etc. are also migrated. The install method is different for BD ; and =indows users.

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# - 6e%%ing Up and Ge%%ing 6%ar%ed

*6 8
%. !. 1. &. %. *nsert the flash drive into a -D> port. Create a new folder on this flash drive, e.g. '()P('&. *n this folder create an empty te,t file called reaper.ini Bpen the ac folder containing the '()P(' disk image A.dmgE file2 this will most likely be Downloads. Double click on this file to open it. Drag and drop the '()P(' icon to the new folder on the flash drive. >e patient. There is a large number of files to be transferred. This can take %" minutes or more.

+indo's
*nsert your e,ternal device into an available -D> port on your PC. ?ote its drive letter Ae.g. (2, F2. /2, M2. *2. etc.E. This will depend how many internal hard drives, disk partitions, e,ternal hard drives, DSD burners, etc. you have already installed. !. Double click on the '()P(' install file to start the install process. 1. Click on 1 Agree to accept the license agreement. The Choose *nstall Oocation window will be displayed. &. (nable the option for Por%ab/e ins%a//. P. Click on 5ro'se. Delect your flash drive and click on 3a(e =e' Fo/der. ?ame the folder Ae.g. '()P('E and press En%er. R. Bn returning to the screen shown here, work your way thru the installation process in the normal way. #. =ait while the various files are installed. There are a lot of files and this might take Huite a few minutes.

#.!#

REAPER 6%ar% 3enu *p%ions E+indo's on/yF

?ormally to start '()P(' you can simply double.click on your =indows desktop shortcut. This will cause '()P(' to be started in accordance with your e,isting preferences and settings. Mowever, for times when you do not wish to do this, you should also be aware of other options available from the =indows 6%ar% menu. Click on the 6%ar% button, then A// Progra)s then REAPER to be presented with a flyout menu of choices2 3enu 9o))and 1ns%a// REAPER %o U65 (ey Rea3o%e 6/ave REAPER REAPER Ecrea%e ne' pro:ec%F E4p/ana%ion This can be used to install '()P(' to a Flash drive or similar device. Mowever, the method described earlier in this Chapter is simpler+ The use of Rea3o%e is beyond the scope of this -ser /uide. Mowever, you can read an overview in Dection !!. Dtarts '()P(' normally, with last pro@ect. Dtarts '()P(' with a new pro@ect file.

REAPER Erese% configura%ion %o Dtarts '()P(' and resets all settings, options and preferences to factory fac%ory defau/%sF defaults. -se this with caution+ REAPER ERe+ire s/ave )odeF REAPER Es$o' audio configura%ion on s%ar%upF REAPER .icense Unins%a// REAPER +$a%sne'.%4% Bpens '()P(' as a 'e=ire slave. This is beyond the scope of this -ser /uide, but is discussed in overview towards the end of Chapter %P. Dtarts '()P(' with the )udio settings Preferences page. Displays Oicense information. -ninstalls '()P('. *f you need to uninstall '()P(' for any reason, you should always use this method. Bpens the te,t file displaying a history of new features and changes introduced in each version of '()P('.

For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) !Q

Up and Running: A REAPER User Guide v 4.59

#.!! REAPER Fi/e -ypes

Oike any other program, '()P(' creates a series of files that it uses to store your work. Dome of the main file types and their purposes are described in the table below, along with other useful information. Fi/e -ype .RPP '()P(' Pro@ect File .RPP-ba( Pro@ect >ackup File .RPP-U=7* -ndo Mistory File E4a)p/e A/one.RPP E4p/ana%ion This file is the core of your pro@ect. *t holds all the information about your tracks, your media and their settings. .'PP files are stored in te,t format. =hen you save an e,isting pro@ect file, the previous version is saved with the .'PP.bak e,tension. Kou can recover a pro@ect from its previous state by opening the backup file. This file type will be created if you select the option to save your undo history with your pro@ect files. This option is included in the Undo 6e%%ings section of the Genera/ settings in your *p%ions? Preferences window. This topic is e,plained more fully in Chapter !. These files contain the information necessary to enable '()P(' to draw the waveforms etc. on your media items. These files contain inde, information about your individual media items.

A/one.RPP-ba(

A/one.RPP-U=7*

.reapea(s '()P(' Peaks File .reapinde4 '()P(' Peaks File

Vo4.'av.reapea(s Vo4.'av.reapinde4

#.!A

Pops and 9/ic(s

Kou:re nearly ready to start making music with '()P('+ >efore you do, though, you should take a few moments to read this section, which deals with the not uncommon problem of unwanted pops and clicks being heard when you play back your music. This is a computer issue rather than a '()P(' specific issue, and is generally less likely to occur with a ac than with a PC. *f you encounter the sound of unwanted pops and clicks when you play back a song in '()P(', then most probably all it means is that your audio device settings are not right for your computer. )s a Huick fi,, try ad@usting the block si<e APreferences, )udio, DeviceE, starting at %!6 and working up thru, !PR, P%!, #R6 or %"%! to find the lowest setting for your system at which you can play back your music without any pops or clicks getting in the way *f you do encounter this problem, you should also read Chapter %Q.& to learn more about this topic.

#.!4

Unins%a//ing REAPER

There is no need to uninstall your current version of '()P(' before installing a new one. Kour e,isting installation will automatically be upgraded from the new installation. Mowever, should you wish to uninstall '()P(' for any reason, BD ; users should simply drag the '()P(' icon into Trash and then remove the folder K&.ibrary&App/ica%ion 6uppor%&REAPER. =indows users should follow this procedure2 %. Click on the =indows 6%ar% button, then A// Progra)s, then REAPER then Unins%a// REAPER. !. =hen the '()P(' -ninstall =i<ard is displayed, click on Unins%a//. 1. =hen the uninstall process is finished, click on 9/ose. &. =hen prompted, choose 0es if you wish to see which files have been left on your Mard Drive, otherwise choose =o. -ip: *f you are likely to be reinstalling '()P(' at some later date, do not remove these files. This will ensure that your previous settings and preferences will be recalled when it is reinstalled.

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! - REAPER Pro:ec% 5asics !

!.#

REAPER Pro:ec% 5asics

6ec%ion *vervie'

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

!.!

*pening an E4is%ing Pro:ec%

To open an e,isting '()P(' Pro@ect File, use the Fi/e? *pen Pro:ec% command, or the keyboard shortcut 9%r/ *. )s with other =indows )pps, you will need to navigate to the appropriate folder to find your pro@ect. 'ecently used pro@ects can more easily be opened using the Fi/e? Recen% Pro:ec%s command. This causes a list of up to the last %"" recently used pro@ect files to be displayed. Kou can then select any file from that list.

The Genera/ page of your *p%ions? Preferences window offers a number of options. *n particular, you can2 anage your Undo preferences Asee Chapter !E. Dpecify whether or not you want the most recently used file automatically loaded when '()P(' is started. -se the .oad .as% Pro:ec% on 6%ar%up option for this. Dpecify whether you want to Au%o)a%ica//y 9$ec( for =e' Versions of REAPER on 6%ar%up . Determine the number of files displayed on the Recen% pro:ec% /is%. Bther /eneral Preferences settings are discussed and e,plained in Chapter %Q. ?otice too the toggle command 9on%inuous scro//ing on the *p%ions menu. *f disabled Athe defaultE, the play cursor will scroll from left to right during playback. *f enabled, this cursor will find and then remain stationary in the center of the arrange window during playback, while the media items scroll across the screen. The e,amples used throughout this guide use the pro@ect file A// -$roug$ -$e =ig$%.RPP. This can be downloaded from '''.coc(os.co)&'i(i&inde4.p$p&REAPER;User;Guide. *t might help you to keep that pro@ect open while using this documentation. Take a copy of this file and work with that. Kou will then be able to e,periment freely without fear of damaging any of your own important pro@ects. For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) 1%

Up and Running: A REAPER User Guide v 4.59

!.A Pro:ec% 6e%%ings

(very '()P(' pro@ect has a number of settings that can be defined and changed to meet the reHuirements of each individual pro@ect. The Pro:ec% 6e%%ings dialog bo, is accessed by choosing the Fi/e? Pro:ec% 6e%%ings command, or by using the keyboard shortcut A/% En%er. The dialog bo, has three pages of settings . Audio 6e%%ings, Pro:ec% 6e%%ings and =o%es. *f in doubt, you can leave most of these settings at their default values, at least until you understand better what they are and how they work.

Pro:ec% 6e%%ings: 3edia

These include2 Pa%$s Aprimary and secondaryE to store media files. For e,ample, if you specify 7)udio8 then your media will be stored in a folder called )udio, where this is a sub. folder of the pro@ect folder. *f you leave these blank, '()P(' will use the same folder as the pro@ect file. Recording for)a% . typically =)S or P1, but there are others , e.g. )*FF, FO)C, B// Sorbis and =avPack. 6e%%ings and specifications for chosen recording format G e.g. for =)S files this includes >it Depth. Preferred )edia for)a%s when F; are applied, or items are glued or fro<en, and when media items are rendered.

Pro:ec% 6e%%ings: Pro:ec% 6e%%ings

These include2 Pro:ec% 6a)p/e Ra%e: for e,ample, &&%"" M< ACD standardE or &6""" M< ADSD standardE. Bption to force the time signature to beats or whole samples. Pro@ect bea%s per )inu%e and %i)e signa%ure. ethod for setting the %i)ebase for items3envelopes markers and for tempo3time sig . essentially you have a choice of Time, >eats Aposition, length rateE or >eats Aposition onlyE. Dee notes below. Preferred Fra)e Ra%e. Pro:ec% s%ar% time and measure. Oeave these at its default setting for now. *n Chapter %% you:ll be shown why and how you may wish to change them. Playback and render resa)p/e )ode. Default mode and parameter to be used for pi%c$ s$if%ing. =e:ll deal with this topic in Chapter Q.

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! - REAPER Pro:ec% 5asics

Pro:ec% 6e%%ings: Advanced
1%e) 3i4 5e$avior. Determines how '()P(' should behave when one media item is placed directly on top of another. The options are for (nclosed *tems to 'eplace enclosing items, *tems always to be mi,ed, or for the newer item to always replace the older item. -rac( )i4ing dep%$. *f unsure, leave at the default setting. The option to allow feedbac( in rou%ing. Feedback routing can be useful for some advanced mi,ing activities, but can be dangerous for audio eHuipment. *f you are in any doubt, do not select this option. The option to sync$roniDe the pro@ect with the timecode of an e,ternal device. The option to limit pro:ec% /eng%$ and recording time. Dpecifying a defau/% pan /a' for your tracks. The pan law determines how the relative volume of a track behaves when that track is panned more or less to one side or the other. Gain co)pensa%ion boos% can be enabled or disabled. Pan laws mare discussed in more depth in Chapter !. eanwhile, if you are unfamiliar with how pan laws work, leave these at their default settings. 7efau/% %rac( pan )ode. Kou have choice of pan modes, some mono, some stereo. Dee Chapter %".

-$e Pro:ec% -i)ebase 6e%%ings The pro@ect timebase controls how media items, track envelopes, and pro@ect markers behave when the pro@ect tempo changes. =hen possible, get your pro@ect timebase settings right before you record or import any items. The default settings are 5ea%s Eposi%ion? /eng%$? ra%eF for items3envelopes3markers and 5ea%s for tempo3time sig envelopes. For more detailed information about the timebase, Bpen the Ac%ions /is% Afrom '()P(':s main menuE and run the action Pro:ec% se%%ings: %i)ebase $e/p. For more about the )ctions Oist, see Chapter %1. *t:s worth also noting that you can still over.ride the pro@ect timebase setting for individual tracks within your pro@ect. To do this, select the trackAsE and choose 6e% %rac( %i)ebase from the track control panel conte,t menu. To do this for an individual item, select the item then press F! to display the *tem Properties dialog bo,. Pro:ec% 6e%%ings: =o%es This very handy section lets you enter any notes and comments that you would like to be included with your pro@ect file. Kou can specify that the notes should automatically be displayed each time the pro@ect is opened. -ip: Kou can save all these settings as the defaults to be used for future new pro@ects. Bf course, for any individual pro@ects you can over.write your defaults.

!.4

7irec%ing Audio *u%pu%

)udio output will by default go from your master to the first available pair of outputs on your soundcard Ausually outputs % and !E, and only to this pair. *f your sound card has multiple pairs of outputs and you wish to change this, you can do so via the Rou%ing 3a%ri4 AVie', Rou%ing 3a%ri4 or A/% RE. Kour available hardware outputs are displayed along the top of the grid. Mere you can select and3or deselect any of the available outputs.

For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) 11

Up and Running: A REAPER User Guide v 4.59

!.5 -$e -ranspor% 5ar

*f the Transport >ar is not visible in your '()P(' window, use the Vie'? -ranspor% command to display it, or use the keyboard shortcut 9%r/ A/% - to do this. The Transport >ar might appear as a floating window inside '()P(', or it might be docked @ust below your track control panels. )t this stage, the position of the Transport >ar does not matter. The main Transport Controls are the seven buttons in the center, which are as follows2 Func%ion Re'ind %o s%ar% of pro:ec% 6%op and re'ind %o '$ere p/ay /as% s%ar%ed Eedi% cursorF P/ay Pause E6%op a% curren% posi%ion and )ove edi% cursorF Go %o end of pro:ec% Record -ogg/e Repea% E'$en a /oop $as been definedF 7efau/% Heyboard 6$or%cu% + 6pace 6pace 9%r/ 6pace End 9%r/ R R

To the left of the buttons is displayed the current pro@ect time. *n the above e,ample, this is %2!#.&!#. >elow that are shown the start and end positions and length of any current %i)e se/ec%ion. Time and loop selection will be covered throughout this -ser /uide, but especially in Chapters R and 6. )t the far left is the G/oba/ Au%o)a%ion *verride feature2 we:ll revisit this in Chapter %R. To the right of the control buttons is displayed a Ra%e 9on%ro/ Fader edit bo, which can be used to speed up or slow down playback. To the left of that are edit bo,es that show the Pro@ect 5ea%s per 3inu%e setting. To change the value of any edit bo, Asuch as beats per minuteE you can click in the bo, and type the new value. *f you prefer, you can also hover your mouse over the bo, and use your mousewheel to increase AupE or decrease AdownE the value. Bther useful Transport Control keys are listed in the table that follows. Func%ion Go bac( a /i%%/e Go for'ard a /i%%/e P/ay E'i%$ /oop se/ec%ion s(ippingF 7efau/% Heyboard 6$or%cu% 9%r/ .ef% 9%r/ Rig$% A/% 6pace

'ight clicking over the Transport >ar displays a conte,t menu. This may seem slightly intimidating at first. =e:ll get to the more advanced stuff in Chapter 6, but for now @ust notice that there are menu options available to2 Delect your preferred time display format. Dock or -ndock the transport in the ain =indow. Kou can choose the main docker or any of four other positions G 5e/o' arrange vie', Above ru/er, 5o%%o) of )ain 'indo' or -op of )ain 'indo'. 6crubbing The top of the edit cursor is marked by an upside down triangle. Kou 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 6$if% key while you do this. *f you do this when the pro@ect is not playing, it will have the effect of 7scrubbing8 your audio.

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! - REAPER Pro:ec% 5asics

!.@ -$e 5ig 9/oc(

-se the Vie'? 5ig 9/oc( command Aor press A/% 9E to toggle on and off the display of the >ig Clock, which clearly displays the current position of the (dit Cursor. This window can be si<ed and moved at will, or docked in the docker. 'ight clicking over the >ig Clock gives you a conte,t menu of options, including changing the display format.

!.B

-rac( 9on%ro/s

*f you play the pro@ect A// -$roug$ -$e =ig$%.RPP you will notice that e,actly the same sound is coming out of both speakers and that the different instruments and vocals are all competing with each other for the same acoustic space. ThatIs because no ad@ustments have been made to the Solume or Pan controls for these tracks. The e,act position of these faders may vary according to the width and height of the your control panel. The hori<ontal fader shown here is used to ad@ust a trackIs vo/u)e. The smaller rotary to its right Apositioned here at centerE ad@usts the panning, sending the signal more to the left speaker or the right speaker as preferred. (ach track may also contains a second rotary pan control Anot shown hereE @ust below the first pan control. =hether this control is present Afor stereo width controlE will depend on which pan mode and3or track layout is selected Asee Chapters %" and %%E. Dtereo width control is a more advanced concept, primarily used for folders and tracks with stereo media files. This will be covered in Chapter %". -ntil then, we will be working with @ust the one pan control. *n any event, to ad@ust any hori<ontal, vertical or rotary faders in '()P(', you can2 Click and hold down the left mouse button over the fader, then drag in the direction reHuired, releasing the mouse when finished. For rotary faders, drag up to rotate clockwise, down for anti.clockwise. Mold 9%r/ while doing this for more subtle ad@ustments. Mover your mouse over the fader, use the Dcroll =heel to ad@ust the level down3up. To disable this feature, go to *p%ions? Preferences? Edi%ing 5e$avior? 3ouse and select 1gnore )ouse'$ee/ on %rac( pane/ faders. ore about mouse behavior preferences can be found in Chapter %Q. 'ight.clicking on the volume fader opens the routing dialog bo, Ashown rightE. Kou can enter values as d> for volume Ae.g. .RE and as percentages for pan Ae.g., !P' for !PL rightE and width directly into this bo,. >y default, the volume and pan controls apply to a track:s audio output. *f you want to use these to control its 3171 signal, right.click on the track number in the TCP, then choose 3171 %rac( con%ro/s, then .in( %rac( vo/u)e pan %o a// 3171 c$anne/s from the conte,t menu Asee Chapter %!E. -ip: To audition possible changes, hold down the A/% key while dragging the fader with the mouse. =hen you release the mouse, it will then return to its original position. -ip: To work with more than one track, hold down 9%r/ while clicking in the Track control panel on each track number reHuired. Then release 9%r/. )ny fader or other movement will be applied to all selected tracks. The two rightmost buttons on each trackIs control area have these functions2 3u%e 6o/o Toggles ute on3off for selected trackAsE =o%e2 >oth the ute and Dolo controls can also be used with modifier keys such as )lt and Ctrl for various functions. Dee Chapter & for details.

Toggles Dolo on3off selected trackAsE

?otice that by default, track 6o/o causes not only the track itself to be played, but also the output of any sends originating from that track. *f you wish to hear only the track without these sends, hold the A/% key while you solo the track. ?otice also that immediately below the arm record button is another button. This is the p$ase con%ro/ button. This can be used to reverse track polarity. For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) 1P

Up and Running: A REAPER User Guide v 4.59

!.C Pan .a' and Pan 3ode

Kou can also change the pan /a' for individual tracks. 'ight.clicking over a trackIs pan fader opens a window where you can select from the list Ain a range "." d> to .R." dbE or type in your own value. ) negative setting causes the signal at the center to be attenuated as panning increases. The Gain co)pensa%ion Eboos% pansF option can be enabled to cause the signal:s audio strength to instead be boosted as it is panned. )nother option is to select your preferred pan )ode Asee rightE. This is Huite a comple, topic and will be e,plained and dealt with more fully in Chapter %" when we look at stereo panning. *n brief, however, you have a number of options G 6%ereo ba/ance&)ono pan is the default Asee Pro@ect DettingsE. This is eHuivalent to the panning mode used in versions of '()P(' before '()P(' &. *f you select stereo pan or dual pan, the width panner will automatically be displayed. The various pan modes are e,plained, along with stereo and dual panning, in Chapter %".

!.9

=aviga%ion and Qoo)ing

=aviga%ing 'i%$in %$e -rac( 9on%ro/ Pane/

The following keyboard shortcuts can be used to navigate within the Track Control Panel2 Func%ion Go %o ne4% %rac(. Go %o previous %rac(. Heys%ro(e 9%r/ A/% 7o'n 9%r/ A/% Up

Ad:us%ing Pane/ +id%$ 'i%$ 3ouse

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

Ad:us%ing -rac( ,eig$% 'i%$ 3ouse

Func%ion Ad:us% $eig$% of sing/e %rac(. Ad:us% $eig$% of se/ec%ed %rac(s. Ad:us% $eig$% of a// %rac(s. Ad:us% $eig$% of a// %rac(s. Ac%ion 9/ic(&drag up&do'n on /o'er %rac( boundary A/% J c/ic(&drag up&do'n on /o'er %rac( boundary 9%r/ J c/ic(&drag up&do'n on any /o'er %rac( boundary 9/ic( and drag up&do'n be%'een J and O sy)bo/s on ver%ica/ scro//bar.

-ogg/ing -rac( ,eig$% 'i%$ Heyboard or 3ouse

Func%ion Toggle between normal track height and minimised track height, all tracks Toggle between normal height and ma,imising currently selected track. (,pand height of selected tracks, minimise all others. Press again to restore all tracks to same height. Heys%ro(e R Athis is the key immediately to the left of #, usually directly above the -ab keyE. K Aon most keyboards, this is the 6$if% key in combination with the R keyE. + Aon most keyboards, this is the 6$if% key in combination with the # keyE.

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! - REAPER Pro:ec% 5asics

Func%ion inimise all tracks. Toggles height of all tracks between minimised, normal and ma,imised. Heys%ro(e S Aon most keyboards, this is the 6$if% key in combination with the ! keyE. 7oub/e c/ic( )ouse on ver%ica/ scro// bar

Qoo)ing 1n and *u% 'i%$ %$e Heyboard

The following keyboard shortcuts can be used for <ooming within a pro@ect2 Func%ion Qoo) *u% ver%ica//y? decreasing %rac( $eig$% Qoo) 1n ver%ica//y? increasing %rac( $eig$% Qoo) %o curren% %i)e se/ec%ion Qoo) *u% %o en%ire pro:ec% /eng%$ Qoo) *u% $oriDon%a/ Qoo) 1n $oriDon%a/ Qoo) *u% )edia pea(s Qoo) 1n )edia pea(s Heys%ro(e Page 7o'n Page Up 9%r/ =u) Pad J 9%r/ Page 7o'n - E%$e )inus signF J E%$e p/us signF 6$if% 7o'n 6$if% Up

6cro//ing 'i%$ %$e Heyboard

The following keyboard shortcuts can be used for scrolling within a pro@ect2 Func%ion 6cro// Vie' do'n 6cro// Vie' up 6cro// Vie' /ef% 6cro// Vie' rig$% Heys%ro(es A/% 7o'n A/% Up A/% .ef% A/% Rig$%

Qoo)ing and 6cro//ing 'i%$ %$e 3ouse'$ee/

The mousewheel can also be used for <ooming in and out when you are navigating a pro@ect file. The table below summarises how the mouse wheel behaves. 5e$avior ,oriDon%a/ Qoo) Ver%ica/ Qoo) ,oriDon%a/ 6cro// Ver%ica/ 6cro// 3odifier Hey for 3ouse'$ee/ Ano modifierE 9%r/ A/% 9%r/ A/%
=o%e: '()P(':s <oom center settings give you more precise control over the program:s <oom behavior. These can be found in the Edi%ing 5e$avior section of your Preferences. Dee Chapter %Q for more information.

Kou can change any default keyboard and mousewheel assignments if you wish. For e,ample, you might like to use @ust the Down and -p arrows Awithout Ctrl )ltE to go to the ne,t or previous track, or to use the mousewheel without a modifier to scroll rather than <oom. Kou can also use other customi<ed mouse modifiers for <ooming. ouse modifiers will be covered in Chapter %1 -ip: 3a(ing and using a Doo)&naviga%e %oo/bar. Tooming and navigating are activities that are performed a lot. Kou might wish to consider making your own Toom3?avigate custom toolbar. *t isn:t as complicated as it might sound. Mow to create your own custom toolbars is e,plained in Chapter %1. For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) 1#

Up and Running: A REAPER User Guide v 4.59

!.#" Using %$e =aviga%or
The '()P(' ?avigator shows you an overview of your pro@ect. *t can be useful to display this when you are <ooming closely on an area of your pro@ect. To display the ?avigator, choose the Vie'? =aviga%or command. The keys 9%r/ A/% V can be used to toggle the ?avigator display on and off. Kou can also use the ?avigator window to scroll thru your pro@ect. Dimply position the mouse over the bo, within the navigator window that represents the on.screen area of your pro@ect. Then hold down the left mouse button, and click and drag to scroll the display. 'elease the mouse button when finished. Bther ways of using the =aviga%or are2 Ac%ivi%y 7efine ne' area %o be disp/ayed in REAPER 'or(space. Reposi%ion rec%ang/e and 'or(space disp/ay area. Reposi%ion and re/oca%e p/ay cursor. Use as in 'or(space %o scro// and&or Doo). 3e%$od ,o/d do'n rig$% )ouse bu%%on? drag and re/ease .ef% c/ic( )ouse 9%r/ .ef% 9/ic( 3ouse'$ee/

!.##

-rac( F8 5asics

Track F; A$D, SDT and Direct ; as well as SDTi and D;i, and, for ac users, )-E can be added to any track by directly inserting the F; into the F; =indow for the reHuired track. *n some programs, these are known as track inserts. ) good selection of F; plug.ins is supplied with '()P(', including $esusonic and Cockos effects. =e:ll be taking a closer look at many of these individually later in this -ser /uide, especially in Chapters P and %&. For now, let:s @ust focus on some general aspects of how F; fit in to the '()P(' scheme of things. To use any of these F;, simply follow this procedure2

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! - REAPER Pro:ec% 5asics

%. !. 1. Click on the F; >utton in the Track Control Panel of the track to which you want to add the F;. This causes the )dd F; window for that track to be displayed Asee belowE. Delect a category, e.g. )ll Plug.ins, D;, SDT, $D, Cockos. )ll available F; in that category will be listed. Double click on the name of the reHuired F;. )n e,ample is shown here.

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

=o%e: =hen you add any plug.in to any track:s F; chain, that plug.in will then be displayed in the F; >rowser:s Recen%/y Used F; folder.

!.#!

Using %$e 6upp/ied F8 Prese%s

Sery often you will wish to use some of the e,cellent F; that are shipped with '()P(' to improve the sound of your tracks. The use of these F; is a huge topic. Kou will find many e,amples in Chapters %&, %P and %R of this -ser /uide. For more detailed information and more advanced e,amples, you should consider obtaining a copy of Rea3i4: 5rea(ing %$e 5arriers 'i%$ REAPER which is available from the '()P(' >ookstore at http233stores.lulu.com3store.php4 f)cct*D5%1#&#6& Mowever, as a means of getting started you might wish to e,plore some of the presets that come with these plug.ins. For e,ample, 9oc(os Rea7e/ay includes presets which as a starting point you can try with your various tracks. Dimply display the drop down list and select the item that you want Ae,ample shown rightE. ost of the Cockos 'ea series of plug.ins include a number of presets. Kou can e,plore these for yourself to discover what is available. Bf course, you can also make any ad@ustments and changes to these that you like, in order to customi<e them more precisely to your own needs. -o se% any F8 prese% as %$e defau/% for %$a% F8 %. !. 1. Delect the reHuired preset from the drop down list. Click on the J button to the right of the list and choose 6ave prese% as defau/% from the menu. Type your own name for the preset and click on *H.

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Up and Running: A REAPER User Guide v 4.59

)s well as the presets supplied with '()P(', you can download further sets by visiting http233stash.reaper.fm3 and following the link to F8 Prese% .ibraries. To import downloaded presets into '()P(', follow this seHuence2 %. *nsert an instance of the plug.in into any track. !. Click on the J button A@ust left of the Para) button in the F; Chain windowE. 1. Choose 1)por% Prese% .ibrary. &. ?avigate to and select the reHuired file then click on *pen.

!.#A

9on%ro//ing -rac( F8

'()P(' provides you with a number of tools to help you manage your Track F;. For e,ample, you can2 Change the order in which they are applied. Copy or move any F; from one track to another. Dave Aand retrieveE any seHuence of F; as a chain that can be easily inserted into other tracks. >ypass individual F; or an entire F; chain. Dpecify a default set of F; to be automatically inserted into new tracks for your pro@ect. -as( 7oc( %$e F8 9$ain Ad:us% %$e va/ues for -rac( F8 para)e%ers 3e%$od Choose the F8? 7oc( F8 +indo' in 7oc(er command. Drag with the mouse, or scroll the mouse wheel over, the fader that controls the value of the parameter that you wish to change. For fine ad@ustments, hold down the 9%r/ key while you do this. *f you prefer, select the control with the mouse, then use the up3down keys on your keyboard. Delect the plug.in in the F; chain, then use the mouse to ad@ust the small rotary control ne,t to the -* button on '()P(':s F; window interface, as shown here. ) setting of %""L eHuals completely wet2 a setting of "L represents completely dry. Drag and drop the F; name up or down within the Track F; window. Double.click on the F; name in the F; Chain window AtogglesE. The title bar of the floated window will display the track name, the F; name, and its place in the track F; chain. For e,ample2 V6-: ReaEP? -rac( # TVoca/U V!&AW. This would be the second F; in a chain of three. Click on the pin symbol at right of title bar. Double.click on F; window title bar. Mold down 9%r/, drag the F; from the source track F; window and drop on the track panel for any other track. Mold down A/%, drag the F; from the source track F; window and drop on the track panel for any other track. Delect the F; name in the F; Chain and press F!. -ntick either the check bo, left of the F; name in the Track F; window or the check bo, in the top right corner of the F; window. Delect the F; name within the Track F; window then click on the Re)ove button.

Ad:us% %$e 'e%&dry )i4 of any F8

9$ange -rac( F8 *rder for a %rac( F/oa% an F8 'indo'

Heep F8 or Add F8 'indo' on %op 9/ose a f/oa%ing F8 'indo' 9opy an F8 fro) one %rac( %o ano%$er. 3ove an F8 fro) one %rac( %o ano%$er. Rena)e an F8 1ns%ance 5ypass an F8 Re)ove an F8 fro) a %rac(

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! - REAPER Pro:ec% 5asics

-as( Re)ove a// F8 fro) a %rac( 6earc$ for an F8 6ave %$e curren% seIuence of -rac( F8 as a c$ain 6ave se/ec%ed -rac( F8 as a c$ain 3e%$od Mold A/% while clicking on the trackIs F; button in the TCP. (nter te,t in the Fi/%er .is% at the bottom of the F; window. *n the Track F; window, choose the F8? 6ave F8 9$ain command. F; parameter settings are saved with the chain. Delect the names of the F; to be included in the chain Ause Ctrl key while clicking the mouseE, then choose F8? 6ave 6e/ec%ed F8 as 9$ain =ithin the Track F; window, choose F8? 6ave 9$ain as defau/% for ne' %rac(s. =ithin the Track F; window, choose F8? Add F8 9$ain command, or within the TCP right.click over the F; button and select Add F8 9$ain from the menu. =ithin the Track F; window, choose F8? .oad 7efau/% -rac( 9$ain from the menu. =ithin the Track F; window, choose the *p%ions? F8 P/ug-in 6e%%ings command. These are discussed in Chapter %Q. *n the Track Control Panel, click on the F8 Enab/e&7isab/e toggle button. Click again to reverse this.

3a(e %$e curren% -rac( F8 %$e defau/% for ne' %rac(s Re%rieve an e4is%ing previous/y saved F8 9$ain .oad your defau/% F8 9$ain Access %$e F8 Preferences se%%ings 5ypass a// F8 for a %rac(

!.#4

9rea%ing a 7efau/% F8 9$ain

*f you have used other D)= software such as Donar, you might be used to having an (F Plug.*n automatically inserted for you in every track. '()P(' allows you to do this by creating a default F; chain which is then automatically applied to every new track that you create. Bf course, this default chain can contain any F; that you wish. To do this, you simply follow this procedure2 Bpen the F; =indow for any track. )dd the F; reHuired. =ith the F; selected, right click and choose 6ave c$ain as defau/% for a// ne' %rac(s from the menu. -ip: *f you switch the F; to bypass mode before saving your F; chain, then the F; chain will be saved in bypass mode. This means that the F; in your new tracks will not reHuire any CP- usage until such time as you open the F; window and enable them.

E4a)p/e
*n this e,ample, we will create a default F; chain that consists of 'ea(F and 'eaComp, both set to bypass mode. %. Bpen any pro@ect file and add a new track at the end. =e will use this track to create our F; chain. !. Click on the F8 button for this track to open the F; =indow. 1. *n the first AleftE column of the )dd F; window, click on 9oc(os. &. Delect in turn, first ReaEP E9oc(osF and then Rea9o)p E9oc(osF. *n each case, either use the *H button to add the plug.in to the track F; chain, or drag and drop them into the chain. P. ake sure that both these F; are unticked G this sets them to bypass.

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Up and Running: A REAPER User Guide v 4.59

R. 'ight click over one of the F; and from the conte,t menu choose 6ave c$ain as defau/% for ne' %rac(s. #. Close the F; window. 6. Kou can now e,it '()P(' if you wish. There is no need to save the changes to the pro@ect file. Q. 'e.open '()P(' and open any pro@ect file. %". *nsert a new track anywhere you wish in this pro@ect file. %%. Bpen the F; window for your new tracks. Kou should see that the two plug.ins, 'ea(F and 'eaComp have already been inserted into this F; bin, in bypass mode. -ip: *f you wish to make changes to the contents of your default F; chain, simply repeat the process described above, this time with the changed set of plug.ins, or Ato remove itE with no plug.ins at all. -ip: *f you hold down the 9%r/ 6$if% keys when opening a pro@ect file, the file will be opened with its F; off line. This can be useful if you need to conserve CP-, or if there is a plug.in which might be causing problems.

!.#5

Using an F8 5us

*f you have used other D)= software, or an analog AtapeE recording and mi,ing desk, you are probably already familiar with the concept of a 5us. The e,act meaning of the term can have several variations, but most commonly Aand in this e,ampleE, a >us is used to enable a number of tracks to share the same resource Asuch as perhaps 'everb or Chorus F;E. This saves on valuable computer resources such as CP-. For e,ample, instead of reHuiring multiple instances of the same F; in perhaps three or four tracks or more, by using a >us you can ensure that only one instance of the F; is reHuired. ?ote that when you use a >us in this way2 The output of each track is still directed to the aster. *n addition, a copy of the signal from each track is directed to the F; >us. )t some stage, the output of the F; >us is then mi,ed back in with the original signal. Typically Aand in the e,ample shown hereE this is achieved by directing the output of the F; >us to the aster, although other more comple, routing arrangements are also possible.

The >us can be inserted anywhere in the pro@ect that you like. *n this e,ample, we will place it @ust after the last track. This e,ample uses the sample pro@ect file A// -$roug$ -$e =ig$%.RPP. Bpen this file, then save a copy to a new name such as A// -$roug$ -$e =ig$% 'i%$ 5us.RPP before embarking on this e,ample. *n this e,ample, we are going to create an F; >us and insert into that bus a Chorus effect. =e will then ensure that both of our guitar tracks use the chorus. Kou will see that '()P(' is different from other audio software in that it makes no inherent distinction between a >us and a Track. The difference is determined solely by how you use it. ?otice that the illustration below shows that for a more pleasing sound, the guitar tracks have been panned somewhat to the left and right respectively.

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! - REAPER Pro:ec% 5asics

-o 9rea%e %$e 5us and add %$e F8 %o i%:
Delect track & Ain the Track Control PanelE. To insert a new track either choose the -rac(? 1nser% =e' -rac( command, or press 9%r/ ,- or double click in the vacant track control panel area beneath the last track. To name this new track, click in the area where the name is to go, type F8 5us then press En%er. To insert the Chorus F; into this bus, click on the busIs F8 button. From the list of plug.in types, select $esusonic, then in the list of plug.ins double click on 6: Gui%ar&9$orus. Close the >us F; window. Delect the two guitar tracks in the TCP. 'ight.click over the 1* button for either of these tracks. From the conte,t menu, choose 6ends then -rac( 5: F8 5us.

-o 9rea%e 6ends fro) %$e %'o gui%ar %rac(s %o %$e 5us:

?ote that for every send there is an eHuivalent receive, and vice versa. For e,ample, *f you now open the *B 'outing window for Track P you will see that it has two receives, one from each guitar track. Kou:ll learn more about '()P(':s routing later in this chapter A'outing (ssentialsE as well as in Chapter & and %P.

3a(ing Ad:us%)en%s
=hen you now play the song, youIll probably find that thereIs more chorus on the guitar tracks than you would like. There are four main ways to ad@ust this. (,periment until you find what gives you the results you want2 %. !. 1. &. )d@ust the chorus F; parameters. *n this case, you could lower the amount of =et signal in the mi,. )d@ust the levels of one or both of the receives in the F; bus routing window. Display the routing window for either guitar track and ad@ust the send levels for that track. )d@ust output volume fader for the track called F8 5us.

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Up and Running: A REAPER User Guide v 4.59

6peed -ips 1n *rder -o 7o -$is ... -ogg/e on&off send fro) %rac( %o 3as%er 9rea%e a Iuic( send on %$e f/y fro) one %rac( %o ano%$er. 6end a %rac(<s ou%pu% direc% %o any $ard'are ou%pu%. 7o -$is Mold A/% while clicking on *B button. =orks with single track or multiple track selection. Drag and drop from 1* button of send track to the track panel of receive track. This can also be done in the mi,er view. Dee Chapter %" for a description of the full range of options. 'ight.click on *B button and select )udio Mardware Butput then choose from sub.menu. This can be used with a track selection and is independent of the track:s master send status.

!.#@

Ana/yDing F8 Perfor)ance

F; plug.ins can impose a heavy load on your computerIs CP-. To help you overcome this, you can use the Perfor)ance 3e%er to closely monitor your F; in the following ways2 Kou can check how much CP- is being used by the F; in your various tracks and in the master. Kou can disable and enable F; chains for individual tracks, Huickly, easily and conveniently, all together in one place. Kou can toggle on and off the mute status for your tracks, again all in one convenient place. To display the Performance eter, press 9%r/ A/% P, or use the Vie'? Perfor)ance 3e%er command.

E4a)p/e
*n the e,ample shown ArightE, you can see that the F; are using 6.R&L CP- overall, and that the aster track with %1 plug.ins is using &.%PL Kou might wish to inspect this track more carefully. The first thing you can do is e,amine the F; for this track, to help you to identify e,actly what the F; on this track are doing. To do this, double click on the track name or number in the Performance eter window. This will open the F; chain for that track. This feature is especially useful if you have a large number of tracks in your pro@ect. Kou can use the Performance eter window to browse thru your pro@ect file, checking it track by track, without having to scroll or navigate thru Track Siew. Kou can of course also toggle F; >ypass for any track, selection of tracks, or all tracks in the -rac( Vie' or 3i4er Vie'. The table below summarises these options. 1n order %o do %$is > -ogg/e F8 5ypass *n&*ff for %$a% %rac(. -ogg/e F8 5ypass *n&*ff for a// %rac(s in %$e se/ec%ion. -ogg/e F8 5ypass *n&*ff for a// %rac(s. 1n 3i4er or -rac( Vie'? do %$is > Click the F8 5ypass button for any track. Delect a number of tracks A9%r/ 9/ic(E then click the F8 5ypass bu%%on for any track in the selection. Mold 9%r/ key while clicking F8 5ypass button for any track.

*n addition, the Performance eter has two right click menus, each with a number of options Asee aboveE. The first is accessed by right clicking in the track list area. 1n order %o do %$is > *pen F8 +indo' for %$a% %rac(. -ogg/e F8 5ypass *n&*ff. 1n %$e Perfor)ance 3e%er 'indo' do %$is > 'ight click on track name, choose 6$o' F8 7ia/og. 'ight click on track name, choose -ogg/e F8 5ypass.

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! - REAPER Pro:ec% 5asics

1n order %o do %$is > -ogg/e %rac( )u%e for %$a% %rac(. 6$o' in&$ide fro) Perfor)ance 3e%er %rac( /is% %rac(s 'i%$ no F8. 6$o' in&$ide fro) Perfor)ance 3e%er )as%er %rac(&)oni%oring '$en %$ese $ave no F8. 1n %$e Perfor)ance 3e%er 'indo' do %$is > 'ight click over any track, choose -ogg/e -rac( 3u%e. 'ight click on any track, enable3disable 6$o' %rac( F8 '$en e)p%y. 'ight click on any track, enable3disable 6$o' )as%er F8 '$en e)p%y and3or 6$o' )oni%oring F8 '$en e)p%y.

The other menu is used mostly to select what information you want shown in the window. 'ight click anywhere in the main Performance eter area to display this. Kou can also use this menu to move the window to the docker. -ip: Kou can select several tracks G using 9%r/ 9/ic( G then right click over any of the selected track numbers in the Performance eter window to Toggle F; bypass and3or Track ute status for all tracks in the selection. =o%e: Kou can find more information about the '()P(' Performance eter in Dection %Q of this guide, Further Customi<ing '()P('.

!.#B

6e/ec%ions and .oops

Bften you will want to work with @ust a part of your pro@ect for a while. *n order to do this, first check the *p%ions menu to see if .oop Poin%s .in(ed %o -i)e 6e/ec%ion is enabled. *f it is enabled AtickedE then making a time selection and defining a loop are the same thing. *f it is disabled Anot tickedE then making a time selection and defining a loop become two different things. =hichever is the case, you can define your loop area by clicking and dragging along the timeline. Dtop the playback at or near the point where you want your loop to begin Aor click your mouse in the background areaE to move the (dit Cursor there. Place your mouse over the -i)e/ine A@ust above the first trackE, then click and drag along the timeline, releasing the mouse to define the e,act area that you want to loop. The effect of this is illustrated above. ?otice that the start and end of the loop are marked by two small triangles. *f when you attempt this, the selection snaps outwards to define a larger area than you want, then '()P(' has snapping enabled. Dnapping will be discussed in detail in Chapter R, but for now you can use the shortcut keys A/% 6 to toggle this feature on and off. -ip: To set the loop selection to match a media item, hold 9%r/ while you double click on that item. To set the time selection to match a media item, hold 6$if% while you double.click on the item. ?ow when you play the pro@ect, provided that the loop Atoggle repeatE icon on the transport bar has been engaged, it will replay over again the area selected for your Ooop. This is known as the 'epeat Function. *f loop points are linked to time selection, the start time, finish time and duration of the selection are also shown on the -ranspor% 5ar. *n any event, pressing the R key toggles this 'epeat Function on and off. There is also the option Aunder *p%ions? Preferences on the P/aybac( pageE to stop playback at the end of a loop when the 'epeat Function is disabled. To change the region defined as your loop, simply repeat the original procedure. To clear the loop altogether, without defining a new one, @ust press the Escape key.

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Up and Running: A REAPER User Guide v 4.59

*f loop points are not linked to the time selection, then you can define a time selection by clicking and dragging in the space underneath or between the media items, in the track background area. )n e,ample of this is shown below. 'ight clicking on the Timeline then gives you a menu of commands which you can apply to a time selection, including Qoo) 6e/ec%ion. Kou can also use this menu to change the units used on the timeline G for e,ample, inutes, easures, Deconds and Damples. any of these commands are shown in the illustration ArightE . enough to help you to understand how important working with time selections is in '()P('. The other commands on this menu will be discussed elsewhere in this -ser /uide, as the need arises. These are features that you are likely to find useful when editing your files. *ncidentally, to <oom out of a time selection and restore a whole pro@ect length to view, press 9%r/ Pg7o'n. There:s more about loops and time selections elsewhere in this -ser /uide, e.g. in Chapters R and 6.

!.#C

3anaging -i)e and .oop 6e/ec%ions

*n the previous section you learnt how to click and drag within an empty area of the track view to define a time selection. This may or may not also change the loop selection, depending on your *p%ions? .oop poin%s /in(ed %o %i)e se/ec%ion setting. )s you progress thru this -ser /uide, you will see that time selection plays an important role in '()P(', for e,ample when it comes to editing your media items. KouIll probably find at first that itIs too easy to perhaps select too large an area, or to miss part of the area that you intended to select. -o )odify a /oop se/ec%ion using the mouse, hover the mouse over the edge at the start or finish of the loop selection on the time line, then click and drag left or right. Dragging left from the start of the selected area e,tends the selection left, dragging right shortens it. Dragging right from the finish of the selected area e,tends it to the right, dragging left shortens it. Molding 9%r/ while you do this will ensure that any active snap settings are ignored. -o )ove a /oop se/ec%ion, hold the mouse over the selected area on the time line, then hold down 6$if% while clicking and dragging the mouse left or right. Kou can also modify a time selection by scrolling the mousewheel over the Delection area of the -ranspor% 5ar. Dcroll over the start area to ad@ust start time, end area to ad@ust end time, or over the length of selection area to move the entire selection. *f you wish, you can enter actual times in the start and end time bo,es. There are also several keyboard shortcuts you can use for managing -i)e 6e/ec%ions, summarised below. *f loop points are linked to the time selection, then the loop area will also be modified.

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! - REAPER Pro:ec% 5asics

Func%ion =udge En%ire -i)e 6e/ec%ion /ef% a /i%%/e. =udge En%ire -i)e 6e/ec%ion rig$% a /i%%/e. E4%end -i)e 6e/ec%ion %o /ef% by nudging /ef% edge /ef% a /i%%/e. 6$rin( -i)e 6e/ec%ion %o rig$% by nudging /ef% edge rig$% a /i%%/e. 6$rin( -i)e 6e/ec%ion fro) rig$% by nudging rig$% edge /ef% a /i%%/e. E4%end -i)e 6e/ec%ion fro) /ef% by nudging rig$% edge rig$% a /i%%/e. 3ove -i)e 6e/ec%ion /ef% by %i)e se/ec%ion /eng%$. 3ove -i)e 6e/ec%ion rig$% by %i)e se/ec%ion /eng%$. 9opy por%ions of se/ec%ed )edia i%e)s in -i)e 6e/ec%ion. Re)ove -i)e 6e/ec%ion. Heys%ro(e ? Eco))aF . Eperiod or fu// s%opF 9%r/ ? 9%r/ . 9%r/ A/% ? 9%r/ A/% . 6$if% ? 6$if% . 9%r/ 6$if% 9 Esc

*f you wish, you can use the keyboard rather than the mouse to define your time selections. First you need to position the cursor at either the start or the end of the loop, then use one of these2 Func%ion 7rag cursor %o %$e /ef% and crea%e %i)e se/ec%ion. 7rag cursor %o %$e rig$% and crea%e %i)e se/ec%ion. Heys%ro(e 6$if% .ef% Arro' 6$if% Rig$% Arro'

The following keystrokes can be used to <oom when you are working with a time selection2 Func%ion Qoo) %o -i)e 6e/ec%ion. Qoo) bac( %o Pro:ec%. Heys%ro(e 9%r/ PageUp 9%r/ Page7o'n

-ip: *f you are unable to position your cursor e,actly where you wish when creating a loop selection, it may be that you have snapping enabled. A/% 6 will toggle snapping status on and off.

!.#9

=aviga%ing by u)ping

Kou can @ump to any point on the timeline using the Vie'? Go -o? u)p -o command, or by using the keyboard shortcut 9%r/ . *n specifying the place to @ump to, you should use the same format as is used on the timeline. *n the e,ample used here, the timeline displays easures and below it inutes and Deconds. Kou could therefore use either format, e.g. AA.# or #:"4.

!.!"

-i)e and .oop 6e/ec%ions and %$e -ranspor% 5ar

> you s$ou/d do %$is ake the reHuired loop selection, make sure Repea% is enabled Athe button ne,t to Play on the Transport >arE, position the play cursor within the loop and press 6pace. ake the reHuired time selection and position the play cursor anywhere before the start of that selection. Press A/% 6pace.

There are two special ways in which the transport bar can be used with a loop selection or a time selection. 1n order %o do %$is ... Repea%ed/y p/ay %$e se/ec%ion over and over P/ay bac( pro:ec% s(ipping over %i)e se/ec%ion

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Up and Running: A REAPER User Guide v 4.59

!.!# 1%e) =a)es? 5u%%ons and 1cons

Depending on Appearance? 3edia preference settings, you may Aor may notE see your item names displayed above the media item rather than on it Asee rightE. Kou might also see some media item icons Aor buttonsE. Kou:ll learn more about this when we e,amine media items more closely in Chapter R.

!.!!

REAPER Rou%ing Essen%ia/s

This section will teach you more about one of the most important core functions of '()P(' G Rou%ing. 'outing is the means by which you ensure that your media Aaudio and3or *D*E are directed to where you want them to go, so that your pro@ect can be heard e,actly as you want it to be heard. Kou were introduced to some basic e,amples earlier in this chapter, when we looked at creating and using an F; bus. 'outing can be very simple or e,tremely comple, G and anything in between. This section introduces you to basic routing concepts. ore comple, routing options will be covered later in this Chapter, also in Chapters & and %P, and elsewhere. (ach track includes an 1* 5u%%on in its panel toolbar. Clicking that button causes the routing window for that track to be displayed. To close the track routing window, either press the Escape key, or click on the little 8 in the top right corner of the window, or click anywhere outside the window. The actual contents of your Track 'outing window will vary according to your pro@ect structure and your D)= hardware setup Ae.g. sound card and audio devices, *D* devices etc.E. Depending on the nature of your pro@ect, your display should be similar to that shown above, but not necessarily identical. ?otice in particular2 3as%er&Paren% 6end G (nabling this ensures that the trackIs 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 % AbelowE. *f in doubt, leave this item enabled. 6ends G *n the F; >us e,ample earlier in this chapter you created sends. ) track:s output can be routed via a send from any track to any other track or tracks. This topic will be covered in more detail later. Audio ,ard'are *u%pu%s G in addition to Aor instead ofE directing output to your aster >us, you can also direct output of any track directly to Mardware Butputs on your audio device. *f your audio device has multiple outputs, this can be useful, for e,ample, for creating a separate headphone mi,, or as series of separate headphone mi,es. 3171 ,ard'are *u%pu% G -se this option to direct *D* output to an e,ternal device or to the icrosoft /D =avetable Dynth. Receives G For every send AsourceE track there will be a receive AdestinationE track. *n the earlier e,ample, the F; bus included two receives, one from each of the two guitar tracks in that pro@ect file.

-nlock your inner '()P(' with REAPER 4 Un/eas$ed2 &6

! - REAPER Pro:ec% 5asics

?otice Apicture belowE that when you create a send, you are presented with volume and pan faders which can be used to control this. Kou can also specify whether to send audio output, *D* output, or both. =henever you select any listed track, audio hardware output or *D* device to be used for a trackIs routing, controls such as Oevel and Pan are automatically added to this interface.

=hen you create a new pro@ect, by default the output of each new track is routed to the aster track and from there to the output of your sound card. *f that is all you need, you do not need to study the routing options right now. Mowever, understanding '()P('Is routing capabilities will almost certainly enable you at some stage to get more benefits from the program. The illustration below shows an e,ample of the Track 'outing =indow for a track for which both sends and receives have been created. Kou will be shown how to do this later in this -ser /uide, starting at Chapter &. )pproach track routing gently at first2 it is a very powerful feature of '()P('. The main body of this -ser /uide will take you thru the basics of track routing. )fter you have mastered these, you will find some rather more comple, e,amples elsewhere in this -ser /uide, especially in Chapter %P. =o%e: Dends and 'eceives can be any of three types. These are Pos% Fader EPos% PanF, Pre-Fader EPos% F8F and Pre F8. The differences will be discussed in Chapter %P. eanwhile, if in doubt accept the default option Pos%-Fader EPos% PanF. Dee also the flow charts that are shown at the end of Chapter P.

!.!A

-$e Rou%ing 3a%ri4

'()P(':s 'outing atri, is a 7one stop8 window where you can manage and arrange a pro@ect:s entire routing structures. For e,ample, you can add and delete sends and receives and manage their various parameter controls, such as volume and pan. Press A/% R to display the routing matri,. For the pro@ect file A// -$roug$ -$e =ig$% 'i%$ 5us it should resemble that shown right2 of course your hardware outputs will not be the same.

For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) &Q

Up and Running: A REAPER User Guide v 4.59

Bbserve the cell in the matri, where the G%r 5ody row intersects with the F8 5us column. *t contains two small blobs. >y right clicking over this cell, you can cause the controls to be displayed which determine how the signal from the /tr ?eck track is sent to the F; >us Asee illustration aboveE. 6i)p/ifying %$e Rou%ing 3a%ri4 7isp/ay *f your sound card has multiple outputs, then by default, '()P('Is 'outing atri, will display multiple permutations of paired outputs, including several that you may feel that you do not need. >y default '()P(' will allow you to use any two consecutively numbered audio outputs as a stereo pair. *t is Huite likely that you may want to use, for e,ample, outputs % and ! as one pair Aperhaps for your speakersE and outputs 1 and & as another pair Aperhaps for your headphone ampE. Mowever, it would be unusual to want to use outputs ! and 1 together as a pair. *f you wish, you can prevent these unwanted combinations from being displayed by choosing the *p%ions? Preferences command, then selecting the Audio settings page. This includes a 9$anne/ na)ing section, where you can turn off the option to 6$o' non-s%andard s%ereo c$anne/ pairs Asee rightE. *f for some reason you did wish to direct your output to any non.standard pair, you could still do so by selecting each of them individually on the matri,.

!.!4

7oc(ing and F/oa%ing

Too many views on the screen at once creates clutter. ThatIs when the Docker becomes useful. 'ight clicking over the title bar or background area of most windows causes a conte,t menu to be displayed which will offer a list of choices relevant to that window. -sually their purpose will be obvious. This will include an option 7oc( in 7oc(er. =hen a number of windows are docked, at the foot of the Docker you will see a series of Tabs. These are used to select which item is displayed by the Docker at any time. *n the illustration here, the Docker includes several items. ?otice also that2 *f you close a =indow, ne,t time it opens its docking status will be the same as when it was closed. *f a =indow is docked when it is closed, ne,t time it is opened it will still be docked. To undock a window, right click over the background or tab area of the window and deselect the 7oc( in 7oc(er option. The Docker can itself be attached to the main window or detached and floated. Click over the small e,clamation mark in the bottom left corner of the Docker and use the option to A%%ac$ 7oc(er %o 3ain +indo' to toggle. >y default the docker will be attached to the bottom of the main window, but you can use the same menu to change this position to left, top or right. Clicking over the e,clamation mark after detaching the Docker from the ain enu will also give you access to the 6e% *paci%y feature. This can be used to ensure that when floated and not in focus, the Docker is transparent. Bpacity can be set between !PL and %""L.

-ip: The keyboard shortcut A/% 7 can be used as a toggle to show or hide the Docker or Dockers.

-nlock your inner '()P(' with REAPER 4 Un/eas$ed2 P"

! - REAPER Pro:ec% 5asics

ore e,perienced users might be interested to know that if you wish you can work with multiple dockers. This topic is covered in Chapter %%, Pro@ect anagement Features. )s an alternative to docking windows, you might consider the toggle command Vie'? 6$o'&$ide a// f/oa%ing 'indo's as a method of handling screen clutter. )nother useful command can be Vie'? 9ascade a// f/oa%ing 'indo's.

!.!5

-$e Undo ,is%ory +indo'

'()P('Is -ndo feature is user friendly and very powerful. The Vie'? Undo ,is%ory command Aor use 9%r/ A/% QF toggles open and closed the Undo ,is%ory +indo'. Kou can double click on any event displayed in that window to go back to that point. The Genera/ settings page under *p%ions? Preferences includes a section which you can use to determine the behavior of the -ndo Mistory. *n particular, you can2 Dpecify the ma,imum amount of memory to be allocated to -ndo. Detting this to <ero will effectively disable this feature. Dpecify whether item selection and3or time selection and3or edit cursor movements are to be included in the -ndo Mistory. (nsure that if the allocated -ndo storage area becomes full, the most recent actions will be retained in the -ndo Mistory. 6ave your Undo ,is%ory 'i%$ %$e Pro:ec% Fi/e and ensure that this file is loaded with the pro@ect. This means that even after retrieving the pro@ect file at some later date, you will still be able to revert the pro@ect to an earlier state if you wish. 6%ore )u/%ip/e undo&redo pa%$s. =ithin the -ndo Mistory window you can even store alternate seHuences of commands and actions, then switch between them+ -ip2 Bn the Appearance page of your Preferences settings, you can enable or disable the option 6$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. Kou can click on this at any time to open and display the -ndo Mistory window. Click a second time to close this window. ?ote also that the -ndo Mistory window is dockable. To do this Aas with most other windowsE, right.click on the title bar and choose 7oc( in 7oc(er from the conte,t menu.

!.!@

Heeping a +indo' on -op

The small pin shown on the right of the title bar of most windows A@ust before the 8E can be used to pin a window to keep it on top. Click on this to toggle its on top status. =hen the pin is shown in the down position, the window is locked on top. For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) P%

Up and Running: A REAPER User Guide v 4.59

!.!B 3u/%ip/e Pro:ec% -abs

'()P(' lets you keep more than one pro@ect open at the same time, using multiple pro@ect tabs. This makes it easy for you to @ump between different pro@ects if you are working on more than one song, or to move or copy media items Aaudio and3or *D*E from one pro@ect to another. To create a new pro@ect tab when you already have one file open, simply use the Fi/e? =e' Pro:ec% -ab command Aor press 9%r/ A/% =E. ) new tab will be opened Alabelled UnsavedE, but the previous pro@ect will also remain open on a different tab. Kou can @ump between pro@ects simply clicking on the tab Asee belowE. To open a file in a particular pro@ect tab, simply select that tab, then use the Fi/e? *pen Pro:ec% command in the usual way. To open it in a new pro@ect tab, simply select this option from the dialog bo, when opening the pro@ect. Kou may have as many pro@ects open as you wish Asee belowE. 'ight click over any pro@ect tab to show the pro@ect tab menu. The commands are2 =e' pro:ec% %ab, This inserts a new tab. 9/ose curren% pro:ec%. Closes the pro@ect currently open in that tab, and the tab with it. Kou can also do this by simply clicking on the 8 at the right hand end of the pro@ect tab. A/'ays s$o' pro:ec% %abs. This toggle command can be used to show pro@ect tabs, even if only one pro@ect is currently open. 6$o' pro:ec% %abs on /ef% side of 'indo': Toggles display of tabs on left of window rather than top. ,ide bac(ground pro:ec% F8&3171 'indo's. (nsures that when one of a number of open pro@ect tabs is selected, any open F; windows and the like belonging to other open pro@ects are not displayed on top of it. Run bac(ground pro:ec%s. This allows you to play the pro@ect in one tab while working on another. Run s%opped bac(ground pro:ec%s. Commences playback of pro@ects in tabs not currently selected. P/ay s%opped bac(ground pro:ec%s 'i%$ ac%ive pro:ec%2 (nables background pro@ects Aopen on other tabsE to be played with the current pro@ects. *ff/ine bac(ground pro:ec% )edia. This sets to offline the status of media items in all tabs other than whichever is currently active. 3oni%oring F8 > This opens the monitoring F; window for hardware output monitoring2 see Chapter P. -ips: =hen working with multiple pro@ect tabs, they can be reordered using drag and drop. =hen using multiple pro@ect tabs, you can use the Fi/e? 9/ose A// Pro:ec%s command to close all open pro@ects at once.

!.!C

3anaging %$e P/ay 9ursor

>y default, when a pro@ect is playing, pressing 6%op Aor 6pacebarF will stop playback and return the play cursor to its previous starting position. Pressing Pause Aor En%erE will pause playback at the current play cursor position. Kou can also specify that the play cursor should be moved when you click on the Time 'uler, an empty area of any track or in the empty area below tracks. These three options can be enabled3disabled in your 6ee( p/aybac( '$en c/ic(ed. A*p%ions? Preferences? Audio? 6ee(ing settingsE.

!.!9

Heyboard 6$or%cu% and 3ouse 7efau/%s

Kou can use the command ,e/p? ,-3. .is%s Eau%o-genera%edF? 3ouse 3odifier Heys and Ac%ion 6$or%cu%s Aor @ust press 6$if%JF#E to open your web browser with a list of '()P(':s mouse modifiers and keyboard shortcuts. )s you will see in Chapter %1, you can define your own mouse modifiers, keyboard shortcuts and action keys, so that your mouse behavior is determined by the conte,t in which you are using it.

-nlock your inner '()P(' with REAPER 4 Un/eas$ed2 P!

A - Recording 'i%$ REAPER A 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.

A.#

9rea%ing a =e' Pro:ec%

To create a new pro@ect file, you can either use the Fi/e? =e' Pro:ec% command, or press 9%r/ =. The Pro:ec% page within the *p%ions? Preferences dialog bo, can be used to determine how '()P(' behaves each time you create a new pro@ect2

)mongst the most useful options on this screen are the following2 6pecify a %e)p/a%e fi/e for pro:ec%. This enables you to create a pro@ect with, for e,ample, tracks, buses and routing already set up for you in your preferred fashion. This feature will be covered in detail later in this section. Pro)p% %o save on ne' pro:ec%. *f you enable this option, you will be prompted to save your new pro@ects immediately they are created. *pen proper%ies on ne' pro:ec%. *f this option is selected, the Pro:ec% *p%ions dialog bo, will automatically be displayed every time you create a new pro@ect. This can help ensure that you select the correct recording format and other settings that you reHuire. Au%o)a%ica//y crea%e a bac(up eac$ %i)e your fi/e is saved and over'ri%%en. This helps protect you against accidental loss of work. =hether to create and save )u/%ip/e pro:ec% versions. This feature is e,plained in Chapter %%. Au%o)a%ica//y save %o a %i)es%a)ped fi/e a% in%erva/s you specify . This can help to protect you from the conseHuences of an unforeseen circumstance such as a power outage or a computer crash. Kou can save these files to the pro:ec% direc%ory and3or an addi%iona/ direc%ory. Kou can also specify the freHuency Ain )inu%esE of automatic saving, and whether to apply this '$en no% recording, '$en s%opped, or at any %i)e.

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Up and Running: A REAPER User Guide v 4.59

A.! 6e%%ing 3edia Pro:ec% *p%ions
)fter creating a pro@ect file, you should display the Pro:ec% 6e%%ings window G A/% En%er G to ensure that you are using your preferred 3edia 6e%%ings. *n particular, you should select your preferred audio format. *f you are not sure which to choose, select .+AV? with settings similar to those shown here. These will give you CD Huality audio. *f you wish later to use some other format Asuch as .3PAE you can render your files in that format. The settings shown would be suitable when the final output is to be rendered to CD audio. )s a rule, !& bit is preferred for recording. *f the recording is to be finalised in DSD format rather than CD, you should consider a sample rate of &6""" instead of &&%"". This is specified on the main Pro:ec% 6e%%ings page. Dome people prefer to use 66!"" for CD and QR""" for DSD. Mowever, increasing sample rate also increases media item file si<e and slows down processing. *%$er for)a%s. *f you prefer, you can record using any of a number of available compressed formats, including P1, B// and =avPack. Choosing any of these will present you with further options appropriate to that format. For e,ample, if you choose P1 you will need also to specify your reHuired bitrate. There is also a drop down list where you choose to write as cues to your recorded media files markers and regions, either one of these, or none of these, or only markers3regions whose name begins with V. Dee Chapter 6 for more about markers and regions.

A.A

6aving %$e Pro:ec% Fi/e

)fter creating a file, use the Fi/e? 6ave Pro:ec% command, or the keyboard shortcut 9%r/ 6, to save it. Kou will need to specify a pro@ect file name. =hen saving a new file you are offered a number of options. Kou can choose to 9rea%e subdirec%ory for pro@ect. *f you also select 9opy a// )edia in%o pro:ec% direc%ory you may also specify a format for these items to be converted. *f you select 3ove a// )edia in%o pro:ec% direc%ory , then by default all media files used by the pro@ect will be moved into the pro@ect subdirectory. Bptionally you can ask to 9opy ra%$er %$an )ove source )edia if no% in o/d pro:ec% )edia pa%$ . Kou would be likely to choose this, for e,ample, if your pro@ect uses files from a samples library, to ensure that the samples are not removed from the library. Kou should also make sure that you get into the habit of freHuently resaving your pro@ect after making changes. The easiest way to do this is simply to press 9%r/ 6. -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 P&

A - Recording 'i%$ REAPER

A.4 9rea%ing and =a)ing -rac(s

)fter creating a new pro@ect file, the ne,t thing you will want to do is to create a track or a number of tracks for recording. ) pro@ect can contain as many or as few tracks as you want. Kou can add tracks using the -rac(? 1nser% =e' -rac( command or by pressing 9%r/ -. )lternatively, you can simply double.click anywhere in the vacant area of the Track Control Panel. *t is advisable to name the tracks before you start recording. To do this, double.click in the track name area and type the name. The media file that is created when you record will then be given a sensible name that matches the track. -nder *p%ions? Preferences you can display the Recording settings page and decide which items are automatically included in your trackIs file names. These can be any combination of track inde, AnumberE, track name, and the time of the recording. =e:ll look at more of these recording preferences later in this chapter. '()P(' supports multitrack recording. The number of different sources that you can record at the same time is limited by the number of enabled inputs Aunder Preferences, )udio, DeviceE on your audio soundcard. >efore commencing recording, for each track you will need to2 )rm the track for recording. '()P(':s Preferences include a page )ssign the *nput that is being used. of -rac(&6end defaults which you can Check that the sound level is right for recording. use to set track default characteristics Ae.g. default volume fader levelE.These Bptionally, you may also2 are e,plained in Chapter %Q. Delect a recording format other than the default. Turn input monitoring on. =o%e: Kou do not need to specify when creating a track whether it is to be a stereo or mono track. =hen assigning the track input for recording, you can use either a single mono input or a stereo pair. ?ote that both stereo and mono tracks can be panned between the left and right speakers as you wish. Panning is a topic that occurs throughout this guide, for e,ample in Chapter &.

A.5

-o Prepare and Record *ne -rac(

%. Check the *p%ions menu to make sure that Record )ode: =or)a/ is selected. =e:ll e,amine the other modes as this chapter progresses. !. Click on the Record Ar) button for that track Aon the leftE The button should now appear red. 1. Click the mouse over the 1npu% se%%ings for that track Abelow the volume fader . see rightE to display a menu. The e,act options on that menu will depend on which sound card and audio deviceAsE you have installed. &. Delect the reHuired input from the menu. This will be the one to which the microphone or line that you are using for recording is connected. *n most cases, this is likely to be one of the 1npu%: 3ono options. *f you are not sure which option to pick, choose 3ono when recording from a single microphone or lead. P. (nable 1npu% 3oni%oring G this is the first option A3oni%or 1npu%E on both the Record ar) button and 1npu% se%%ings right.click conte,t menus, or you can use the toggle Record )oni%oring button shown here ArightE. The e,act location of this button on the TCP may vary according to your choice of layout and the TCP column width. *f your sound card supports direct monitoring you will most likely wish to use that, in which case you should not enable '()P(':s input monitoring. Consult the sound card:s documentation for more information about this. *f your sound card does not support direct monitoring, then you should enable '()P(':s input monitoring. There:s more about input For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) PP

Up and Running: A REAPER User Guide v 4.59

monitoring in section 1.%R. R. )udition the sound while you ad@ust the volume on your audio desk or sound input device, so as to get a good strong signal without clipping. *f in doubt, aim to peak at about G%"d>. ?ote that the recording level cannot be controlled by ad@usting the TrackIs volume fader2 that controls only the playback level. #. Press the Record button on the -ranspor%, or use the keyboard shortcut 9%r/ R. 6. To finish recording, either press 6%op on the Transport, or press 6pace? or press the Record button again, or press 9%r/ R. ?ow click on the Record Ar) button for this track to 7disarm8 it. -ip: The *nput menu Ashown aboveE includes an item 1npu%: =one. This can be used to prevent material from ever being accidentally recorded onto a track where it is not wanted, such as perhaps an F; bus or a folder. =o%e #2 *f you stop recording by pressing the Record button or with 9%r/ R, the recorded media are automatically saved. *f you press 6pace or 6%op, a dialog bo, will be displayed giving you the opportunity to save or delete any of your recordings Asee rightE. This can be useful, for e,ample, if you have armed and recorded more tracks than you intended. Kou can also rename the media file. This can be useful, for e,ample, if you forgot to name the track before recording. =o%e !2 '()P(' supports 7on the fly recording8. 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. Dimilarly, 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)&7isar) button to disarm @ust that track. -ip: =hen recording, make sure that the incoming signal is not too loud, or you can damage your recording eHuipment. MereIs what to do2 %. Turn the input or gain control on your input device Ae.g. firewire device or deskE all the way do'n. !. *f recording an instrument in.line, insert one end of the line into the instrument and the other end into your input device. Turn the output on the instrument fully up 1. )udition the instrument, slowly raising the input or gain control on your input device until it sounds right.

A.@

-o Prepare and Record 3u/%ip/e -rac(s

To prepare multiple tracks for recording you could repeat all of the necessary steps as many times as you reHuire tracks, but that might be tedious G and besides, itIs too easy to make a mistake when selecting your audio inputs. Kou could end up with one input being recorded more than once, and perhaps another input being accidentally missed out. This is something that, at one time or another, is likely to happen with most D)= software. To avoid this problem, you can follow this seHuence2 %. -se the 1nser%? 3u/%ip/e %rac(s command to insert as many tracks as you reHuire. Dpecify the number, then click *H. ?ame your new tracks. !. Delect 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. 1. Bne method is to use the Rou%ing 3a%ri4. Press A/% R to display this. *n this e,ample, four tracks are to be recorded at the same time. >y default, all four tracks are at first -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 PR

A - Recording 'i%$ REAPER

assigned to the first input AaboveE. *f you were to record now, the same signal from the first input would be recorded four times+ A?otice also that by default, input % is also assigned to track P . the F; bus . but as this is not armed nothing will be recorded there.E &. Click in the appropriate cells in the 'outing atri, to assign each track an input. The e,ample shown uses audio inputs . *nput % is to go to Track %, *nput ! to Track ! and so on. *D* inputs may also be selected G these are listed below the audio inputs. Kou can also right click over any red cell to access the 'ecord *nput menu should you wish to do so. P. onitor the strength of the signals and record as before. -ips: Using %$e -rac( 9on%ro/ Pane/ %o prepare )u/%ip/e %rac(s )nother option is to use the TCP to set up and record your tracks. %. To define the same record settings for multiple tracks, select the reHuired tracks, right.click on the arm record button, then make your choices from the menu. Molding 6$if% will over.ride this and apply your menu choices to the one track only. *nputs can be assigned to a selection of tracks in a similar way by clicking on the 1npu% button. !. To assign a series of mono inputs in seHuence to a set of tracks, select the tracks then click the 1npu% button of any track in the selection. ?e,t, select Assign inpu%s seIuen%ia//y then your reHuired inputs G e.g. in the above e,ample, this would be 3ono, 1npu% # %o 1npu% 4. 1. To insert a new track at the end of your pro@ect, you can simply double click in the Track Control Panel area, @ust below the last e,isting track.

A.B

Au%o Ar)ing -rac(s

*f you wish, you can ensure that tracks are automatically armed for recording when selected and unarmed when deselected. Dimply select the trackAsE then right click over the record arm button for any track in the selection and choose Au%o)a%ic record ar) '$en %rac( se/ec%ed. This command can be toggled on and off. To set all tracks in a pro@ect to auto arm, choose the -rac( command from the main menu, then 6e% a// %rac(s %o au%o)a%ic record ar) '$en se/ec%ed.

A.C

Using %$e 3e%rono)e

Kou can set up and use a etronome when using '()P(' for recording. To do this, you need first to right.click on the metronome button on toolbar, or the use the *p%ions? 3e%rono)e&Pre-ro//? 3e%rono)e& PreRo// 6e%%ings command to set up your metronome. Oeft.clicking on the metronome button, or choosing the *p%ions? 3e%rono)e&Pre-ro//? 3e%rono)e Enab/ed command from the main menu, is then used to toggle the metronome on3off.

-$e 3e%rono)e 6e%%ings

Enab/e 3e%rono)e: This turns the built.in metronome on or off. -$e 1* 5u%%on2 *mmediately to the right of the (nable etronome option, this allows metronome output to be directed to the device of your choice Ae.g., MeadphonesE. Run 7uring P/aybac(: This will turn the metronome on during playback. 9oun%-in before p/aybac( : This will enable a count.in before playback. Run 7uring Recording2 This will turn the metronome on during recording. For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) P#

Up and Running: A REAPER User Guide v 4.59

9oun%-1n 7uring Recording: This will enable a count.in before recording. -seful if you are recording yourself. *t ensures that when you press 9%r/ R the recording will not actually start until after the specified count.in. This gives you time to get back to the microphone and pick up your instrument. 9oun%-1n .eng%$ E3easuresF: This defines the number of measures a count in should be. *f it is the very beginning of a pro@ect, it will wait those number of measures before starting to record. *f you select a place to record within a pro@ect, it will start the count in this many measures before the time that you want to record at. 3e%rono)e Vo/u)e: etronome Solume . This is the overall volume of the metronome. 6econdary 5ea% Gain:. This, in relation to the overall volume, is the amount by which the volume of secondary beats will be ad@usted. Kou can also use Damples for your own metronome sounds. Firs% 5ea% 6a)p/e: This is the sample for the first beat G e.g., in &3& time, this sample will play on the %. 6ubseIuen% 5ea%: This is the sample for other beats. For e,ample, in &3& time, this sample will play on the !, 1, and &. *f you wish to have your samples used for the metronome in all your pro@ect you will need to set up the samples, save the pro@ect and a template Awith any other pro@ect setting you think may be usefulE then, in Preferences3Pro@ect specify that pro@ect as the default template to use for all new pro@ects. >y default, '()P(' uses a synthesised metronome. Kou can specify in M< the FreIuency of firs% bea% and of 6ubseIuen% bea%s. 5ea% 9/ic( .eng%$ 44 )s2 This is how long each beat click lasts. 6%ar% s$ape2 This can be hard AlouderE or soft AHuieterE. The Pre Ro// settings can be used so that when you start recording, or playback, the metronome will play for the specified number of measures before recording or playback actually begins. -ip: The etronome Time >ase is controlled by the Pro:ec% 6e%%ings. Press A/% En%er and display the Pro:ec% 6e%%ings page if you need to change this.

A.9

Recording 6%ereo -rac(s

)t times you may wish to record from two inputs direct to a stereo track. This might be the case, for e,ample, if you are uploading some previously recorded material from audio tape into '()P(', or recording perhaps a piano with stereo paired microphones. To do this, follow a similar procedure to that e,plained in section 1.P, selecting a stereo input instead of mono. The signal from paired stereo inputs can be recorded on to a single stereo item on a single track. )s has already e,plained in Chapter !, it is advisable to open the )udio page of your Preferences settings and turn off the option to 6$o' =on-6%andard 6%ereo 9$anne/ Pairs. This will reduce your available stereo paired inputs from a list such as that shown above to a more logical selection such as that shown above.

A.#"

3u/%i-9$anne/ Recording

This is a more advanced topic, less suitable for novices. *f you define a track as multichannel Afor e,ample, perhaps &, R or 6 channelsE then your recording input conte,t menu for that track will include an option for multichannel recording. Kou can, for e,ample, record from four, si, or eight microphones simultaneously, each to a separate channel on the one track. This method is suited, for e,ample, for use with four channel ambisonic microphone arrays as used in surround sound production. For multichannel tracks, there is also a toggle command on the record arm conte,t menu -rac( VU )e%er, 6$o' pea(s fro) a// %rac( c$anne/s Eno% :us% #J!F.

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A - Recording 'i%$ REAPER

A.## -rac( -e)p/a%es

)fter you have set up a track Aor a number of tracksE for recording, you might think that you may wish to use this same track e,actly as it is again in some future pro@ects. This can be done using -rac( -e)p/a%es.

-o crea%e a %rac( %e)p/a%e fro) an e4is%ing %rac( Eor se/ec%ion of %rac(sF:

%. Delect the track or tracks. !. Choose the -rac(? 6ave %rac(s as %rac( %e)p/a%e command. 1. =hen prompted, type a template name. *f you wish, you can select the option to 1nc/ude %rac( i%e)s in %$e %e)p/a%e. *f so, any audio and *D* items on the track will be included. Kou may also choose to 1nc/ude enve/opes in %e)p/a%e. A(nvelopes will be e,plained in Chapter %RE. &. Click on 6ave.

-o i)por% an e4is%ing %rac( %e)p/a%e in%o a pro:ec%:

%. From the '()P(' menu, choose the -rac(? 1nser% %rac( fro) %e)p/a%e command. !. Depending on how your templates are stored, either select the reHuired template from the menu, or choose *pen %e)p/a%e? then choose the reHuired template and click on *pen. The 1nser% %rac( fro) %e)p/a%e sub.menu includes *ffse% %e)p/a%e i%e)s by edi% cursor. *f enabled, any media items and3or envelopes saved with the original template will be inserted at the edit cursor position.

=o%e: Track properties and settings are saved into the template, including track name, inputs and outputs, any
F; plug.ins Awith any parameter settings, parameter modulation, and track controlsE, sends and receives. Mowever, 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. -ip: *rganiDing %rac( %e)p/a%es. Kou can find where your track templates are stored by using the *p%ions? 6$o' REAPER resource pa%$ > command Asee Chapter %E. Mere you can create subdirectories within the TrackTemplates folder where you to store and arrange your track templates as you please. Kour subdirectories and their contents will automatically be shown on the 1nser% %rac( fro) %e)p/a%e sub menu.

A.#!

1)por%ing an E4is%ing Pro:ec%

The -rac(? 1nser% -rac( fro) -e)p/a%e? *pen -e)p/a%e command can be used to import an entire '()P(' pro@ect into your current pro@ect. )ll tracks in the original pro@ect file are imported G media items, track settings, F;, routing, etc. Mowever, items that are not track specific Asuch as markersE are not imported. To do this, simply select Pro:ec% Fi/es as the File Type when the *pen -rac( -e)p/a%e dialog bo, is displayed, navigate to select the file you wish to import, then click on *pen. The tracks from the imported pro@ect file are inserted immediately below the currently selected tracks.

A.#A

Pro:ec% -e)p/a%es

) Pro@ect Template goes further than a Track Template in that it can be used to create an entire Pro@ect File, based upon the structure and settings of the template file. For e,ample, Pro@ect Dettings Aincluding edia DettingsE are saved with a pro@ect template, along with the screen layout, which views are open, how they are si<ed, whether they are docked, and so on. Mowever, unlike when creating a Track Template, you should remove the media clips and items from a file before saving it as a pro@ect template, otherwise every time the template is used to create a new file, those media items will be inserted. A-nless, of course, there are media clips that you actually want saved into the templateE.

-o crea%e a Pro:ec% -e)p/a%e:

=ith the source pro@ect file open, choose the Fi/e? Pro:ec% -e)p/a%es? 6ave As Pro:ec% -e)p/a%e command. =hen prompted, give the template a name, then click on 6ave. Choose the Fi/e? Pro:ec% -e)p/a%es command, then click on the name of the reHuired pro@ect template. For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) PQ

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Up and Running: A REAPER User Guide v 4.59

-o use an e4is%ing fi/e as a %e)p/a%e for a// ne' pro:ec%s:
Choose the *p%ions? Preferences command, then Pro:ec%. Click on the 5ro'se button labeled 7=hen creating new pro@ects, use the following file as a template8. The contents of the pro@ect templates folder will be displayed. Delect the reHuired file, then click on *pen. Click on *H to close the Preferences window.

-ip: *f you are specifying a default pro@ect template it is a good idea to also save an empty pro@ect as a pro@ect template called E)p%y Pro:ec%. Then, if you want to create a new file that doesnIt use your default pro@ect template, you can do so by simply choosing from the menu Fi/e? Pro:ec% -e)p/a%es? E)p%y Pro:ec%.

A.#4

.ayered Recording

The term layering refers to a recording techniHue in which two or more instruments and3or voices are recorded for the same song, but not all at once. -sually, the tracks are recorded one at a time. )n initial track is laid down G this is often a guide track which will be discarded at the end of the recording process. Then each other track is recorded while the musician or singer listens thru headphones to a mi, of what has already been recorded and what she is recording now. *n order to use this layered recording method2 %. =ith 'ecord ode set to =or)a/, record the initial track, as e,plained earlier. !. )fter recording, make sure the output of this track is directed to the aster. ake sure also that you 7disarm8 this track. 1. ake sure that the aster is directed to whichever hardware outputs are connected to your headphones or headphone amp. &. )dd another track. ?ame it. )rm this track for recording. Delect the *nput used by the microphone or line that is to be used to record this new track. P. ake sure that Record: inpu%Eaudio or 3171F is selected and that 1npu% 3oni%oring is turned on for this track Asee aboveE. This will enable the person being recorded and the recording engineer to hear in their headphones a mi, of previously recorded material with that being recorded now. R. )d@ust the Solume levels of the previously recorded track Ausing the track faderE and the volume level of the incoming signal Ausing your e,ternal mi,er desk or audio device, or audio device control softwareE until you are happy with your headphone mi,. #. Press 9%r/ R to start recording, and 9%r/ R again to stop when finished. )gain, disarm this track when you have finished recording on it. 6. 'epeat this procedure for all other tracks to be layered. )t step R. you can feed into your aster a mi, of all tracks previously recorded up to that point. =o%e: *f you notice an echo type delay in your headphones it will be because latency is too high. Oowering the block si<e Asee %.%!E to !PR or %!6 can improve this. Bn consumer Huality built in sound cards, however, this might cause pops and clicks. For =indows users, the use of )D*B&)OO drivers might resolve this. -ip: any sound cards and -D> or Firewire audio devices come with software that can be used for <ero latency input monitoring and headphone mi,ing, especially those devices with multiple inputs and outputs. *f you use that software for input monitoring, then you should turn off the input monitoring option within '()P('. -ry i% no'2 Bpen the supplied pro@ect file A// -$roug$ -$e =ig$%.RPP and save it as A// -$roug$ -$e =ig$% .A0ER6.RPP. Mave a go at recording another instrumental track of your choice to go into this pro@ect . any instrument you choose+ =o%e: 3oni%or 1npu% E-ape Au%o 6%y/eF. This option differs from normal input monitoring in that it monitors input only when the transport has stopped or when you are recording. During playback you will hear only the timeline audio, not the input.

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A - Recording 'i%$ REAPER

A.#5 *verdubbing and Punc$ Recording

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

A.#@

=on-7es%ruc%ive Punc$ Recording

>y default, punch recording is not destructive2 it creates a new take, but does not destroy the original. To use punch recording, follow this seHuence2 %. Choose the *p%ions command, then Record )ode: %i)e se/ec%ion au%o punc$. The display of the Transport >ar record button will change. Disable the Toggle 'epeat function on this toolbar. !. Delect the track and arm it for recording. Siew the *p%ions menu and for now ensure that 6$o' a// %a(es in /anes E'$en roo)F is not selected. =e:ll look at lanes shortly. )lso, for this e,ample, make sure that .oop poin%s /in(ed %o %i)e se/ec%ion is not enabled. 1. ake sure that the track output is sent to the aster and that *nput onitoring is enabled. &. ake sure that the aster output is directed to the audio hardware outputs to which your headphones or headphone amp is connected. P. Click once on the e,isting media item to select it. Click and drag along the arrange background area to select the region that you want to be re.recorded Asee aboveE. R. 'ewind the track to a point a short way before the position where you wish to start recording. This can be done by simply clicking at the reHuired place on the timeline. #. Press 9%r/ R. Kou will hear the recorded material up to the start of the defined region, where you can re. record that passage. Press 6pace to stop when you have finished recording. Disarm the track. 6. =hen prompted, accept the option to save your recorded media. Don:t forget to restore normal recording mode when you have finished your punch recording. Kour track now contains two media items, with the new one on top of the old one. =hat:s happened to the originally recorded passage4 =ell, it:s still there and you can still use it if you like. Kou:ll find out how when we get to look at -a(es. =o%e2 Kou can enable the option 3oni%or %rac( )edia '$en recording. *f you do this when punching in, say, a guitar or vocals, regular 3oni%or 1npu% will cause you to hear both the e,isting and the new material right up to the punch, then only the new material during the punch. 3oni%or 1npu% E%ape au%o s%y/eF will monitor only the e,isting materials up to the punch, then only the new material. -ip2 *f you make a mistake or change your mind when overdubbing, you can use 9%r/ Q to undo the recording or you can select the unwanted media item and use the 7e/e%e key to remove it. /etting to grips with '()P(':s various record modes and in particular how they work in combination with other options Asuch as monitoringE can be somewhat bewildering for new users. Chapter !1 includes a summary table -roub/es$oo%ing Record 3odes and 3oni%oring. For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) R%

Up and Running: A REAPER User Guide v 4.59

A.#B 7es%ruc%ive Punc$ Recording

Kou have the option when punch recording of actually removing from the e,isting track the previously recorded material if you wish. *f this is what you want, use the *p%ions? =e' recording %$a% over/aps e4is%ing )edia i%e)s command to turn on the toggle option -ri)s e4is%ing i%e)s be$ind ne' recording. >e careful how you use this. Kou can restore this option to its default setting by choosing 6p/i%s e4is%ing i%e)s and crea%es ne' %a(es from the same menu.

A.#C

Fades and 9rossfades

'()P(' allows you to apply automatic crossfades and fades in and out of your recorded items. This feature can be turned on and off or customi<ed thru the *p%ions? Preferences? Pro:ec%? 3edia 1%e) 7efau/%s. Kou can select a preferred shape and duration AlengthE for your fade curves. Clicking on the image of the curve Ashown aboveE causes you to be offered a number of choices Asee rightE. )s you will see in Chapter R, you can easily change the default fade type and3or length for individual media items. *f you prefer not to use automatic fades, @ust disable that option.

A.#9

Recording 3u/%ip/e -a(es

'()P('Is multiple takes feature can help you when you want to record several versions of a track to see which you prefer. *t works like this2 %. Det record mode to normal A*p%ions? Record 3ode: =or)a/E. !. ake sure that Enab/e %rac( free i%e) posi%ioning AF*P E is not enabled Ai.e., not tickedE for the tracks being recorded. -se the TCP right click conte,t menu to do this. =e:ll get to F*P later in this chapter.

1. 'ecord your first take of the track. &. 'ewind to the start then record your ne,t take. P. 'epeat step &. as many times as you wish. *n the e,ample shown, an initial vocal track has been recorded, then above it three takes have been made of a vocal harmony track. ?otice the te,t displayed with the name of the media item displayed for the Marmony So, track. *t begins with the te,t -a(e A&A. =o%e: -nder *p%ions? Preferences? Appearance? Pea(s&+avefor)s there is a setting to Au%o)a%ica//y co/or any recording pass %$a% adds ne' %a(es %o e4is%ing i%e)s . =hen you are recording multiple takes to two or more tracks at the same time, enabling this option can help you to visually identify which takes belong in the same set.

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A - Recording 'i%$ REAPER

A.!" 6$o'ing -a(es in .anes

Bptionally, 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 9%r/ . or by choosing *p%ions? 6$o' a// %a(es in /anes E'$en roo)F from the ain enu. *n the first e,ample Ashown rightE, three takes have been made of a vocal duet. The first and second are complete takes, the third is a punched.in overdub of one small section. *n this case, the option to 7isp/ay e)p%y %a(e /anes A*p%ions? -a(e /ane be$avior menuE has been enabled. This ensures that the short overdubbed section is given its own complete lane. This makes it easier for you to keep track visually of which parts of each take belong together. For both tracks, the second take is currently selected Ae,cept for the overdubbed sectionE and will be played. *n this second e,ample ArightE, different takes Aand permutations of takesE have been selected for the different tracks. *n this third illustration, the tracks have been minimised, so that at any point only the selected take is visible. Mowever, as long as the option to Dhow )ll Takes in Oanes remains active, the lanes will automatically be restored to view when the height of these tracks is e,panded. =o%e: =hen you create multiple alternative takes in this way you will later be able to easily pick the best passages from each of your takes and @oin them together as a single item. The method for doing this will be e,plained in Chapter # of this -ser /uide.

A.!#

Using 9o/or 9oded -a(es

'()P(':s 1%e)? 1%e) and %a(e co/ors command offers a variety of interesting ways that you can use color when working with takes and items Asee rightE. =e:ll look at this whole topic in detail in Chapter#, but for now notice the command 6e% ac%ive %a(es %o one rando) co/or. *f after making your preferred working selection from the available takes for any track you double.click on that track in the Track Control Panel then all media items in that track will be selected. Choosing 6e% ac%ive %a(e %o one rando) co/or will now produce an effect similar to that shown below. This will only be visible if an option to show take colors is enabled in the )ppearance, edia page of your Preferences. For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) R1

Up and Running: A REAPER User Guide v 4.59

A.!!

+or(ing +i%$ 3u/%ip/e -a(es

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

9o))and
?e,t Take Previous Take (,plode )ll Takes to ?ew Tracks

6$or%cu%
6$if% -

Effec%
Displays ne,t take for selected trackAsE. Displays previous take for selected trackAsE. Creates a separate track for each take Asee belowE.

E4p/ode A// -a(es %o =e' -rac(s differs from 6$o' A// -a(es in .anes in that it lets you treat each take separately as a separate track. The picture on the right illustrates this. Track % consists of two takes which are shown in lanes. )fter e,ploding these takes to new tracks we have Ain addition to the original trackE two new additional tracks, one for each take. 9au%ion: Bne look at the -a(e submenu Aon the media item:s right.click conte,t menuE will show you that there are commands available for deleting takes and cropping to active take. Kou are advised to avoid these until you have worked thru Chapter # of this guide. *n particular, avoid using the 7e/e%e key when selecting takes2 you are likely to delete more than @ust the take that you don:t want+ -ry i% no'2 Bpen the pro@ect file A// -$roug$ -$e =ig$% .A0ER6.RPP Awhich you saved earlierE and add a vocal harmony track to this pro@ect. -se this track to record three takes G then save the file.

A.!A

*ver/apping 1%e)s

Kou have already been shown two of the three overdubbing options on the *p%ions menu command =e' recording %$a% over/aps 'i%$ e4is%ing )edia, i.e. 6p/i%s e4is%ing i%e)s and crea%e ne' %a(es Edefau/%F and -ri)s e4is%ing i%e)s be$ind ne' recordings E%ape )odeF . The third option is to 9rea%e ne' )edia i%e)s in separa%e /anes E/ayersF. The e,ample below shows how this works. *n the first illustration AaboveE a part of a track has been recorded. *n the second illustration AbelowE, we have returned to this track and with the option 9rea%e ne' )edia i%e)s in separa%e /anes E/ayersF enabled we have re.recorded the last part again, together with some new material. *n this case, despite the two takes being labelled Take % and Take !, the second take is to all intents and purposes a separate media item. Kou can choose which of these media items are and are not played.

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A - Recording 'i%$ REAPER

There is also an *p%ions menu command to 6$o' over/apping )edia i%e)s in /anes. The ma,imum number of lanes can be set on the Bptions, Preferences, )ppearance page. This general topic will be addressed again later in this guide, especially in Chapters &, P and #.

A.!4

Recording 3u/%ip/e Addi%iona/ 1%e)s

=e have already seen how you can use '()P(' to record multiple takes on the same tracks. Oater, in Chapter #, you will be shown how to edit these, so as to take the best parts from each of several takes and then patch them together into a single take. )s an alternative to using multiple takes, however, you may wish to record additional items onto an e,isting track, perhaps overlapping. This is an e,ample of where free item positioning can offer you greater fle,ibility. >y default, free item positioning is not enabled. To record e,tra items Arather than additional takesE on to an e,isting track, follow this seHuence2 %. Det record mode to normal A*p%ions? Record 3ode: =or)a/E. !. ake sure Free 1%e) Posi%ioning AF*P E is enabled AtickedE for the tracks being recorded. 'ight click on the Track Control Panel for the selected tracks and select Enab/e free i%e) posi%ioning for se/ec%ed %rac(s if this is not already ticked. 1. 'ecord your first item for the track. &. Position the cursor at the point where you wish to record the second item. 'ecord this item. P. 'epeat step &. as often as reHuired.

E4a)p/e

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

=o%e2 *n the Bptions, Preferences, Pro@ect, Track3Dends Defaults window there is an option to make free item positioning enabled for your tracks by default.

A.!5

Recording 'i%$ E)p%y Even%s

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

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Up and Running: A REAPER User Guide v 4.59

recorded. OetIs take an e,ample where a vocal track has already been recorded, and we want to lay down a harmony vocal, where this harmony is only used for the chorus line of the song. This is how you would do this2 %. *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 3oni%or 1npu% for this track, and make sure the output from the aster is directed to your headphones. 1. -se the *p%ions menu to ensure that Record )ode: au%o punc$ se/ec%ed i%e)s is chosen. ?otice the appearance of the 'ecord button in the transport bar changes. &. 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 1nser%? E)p%y i%e) command to create the empty item. 'epeat this as often as reHuired. *f necessary, click and drag to ad@ust their e,act positions. P. *f you need to resi<e 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. R. Delect all of the reHuired events. To do this, use the 9%r/ key while clicking on each in turn. )n e,ample of what you should now have is shown below. *f you need to reposition the (dit Cursor before recording, do so by clicking on the Timeline. #. Press 9%r/ R to start recording. =hen finished, press 9%r/ R again to stop. *f prompted, accept the option to save all files. Kour previously empty media items will have been replaced with your newly recorded material. Disarm the track.

A.!@

Recording 3171

Kou have a number of options for recording *D*, depending on what eHuipment you have and how it is set up. *n every case, however, the principle is the same2 Kou will need to use either '()P(':s 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. Kou will need to create a track Aor assign an e,isting oneE for your *D* recording. Kou will need to assign an output device for your track. Kou will need to assign a Channel for the *D* item. Kou will need to turn *nput onitoring on to be able to hear what you are playing. '()P(':s Vir%ua/ 3171 Heyboard, can be played using your mouse or PC keyboard. This keyboard is displayed using the command Vie'? Vir%ua/ 3171 Heyboard. The shortcut keys A/% 5 can be used to toggle display on and off.

Procedure for Recording %o a ne' 3171 -rac(

%. *nsert a new track into a pro@ect file. )rm this track for recording. !. ake sure that your *D* keyboard is connected to the computer, *D* *nput of your sound card or )udio Device and that it is switched on. *n this e,ample, we will be using the REAPER Vir%ua/ 3171 Heyboard. *f this is not visible, press A/% 5. 'ight click over any key that you wish to be your centre note. -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 RR

A - Recording 'i%$ REAPER

1. Bn the track you are using, right click over the arm record button Aas shownE. ake sure that 3oni%or 1npu% and Record 1npu% are both selected, and that you have selected the Vir%ua/ 3171 Heyboard as the 1npu%: 3171 device. For this e,ample, select A// 9$anne/sE. These settings can be made in the 'outing atri, if you prefer. &. ake sure the TrackIs output goes to the aster, and that the aster output goes to the hardware audio outputs to which your speakers or headphones are attached. P. *n this e,ample we will use a Doftware Dynthesi<er. Bpen the F8 =indow for this track. Kou will need to insert a Doftware Dynthesi<er here. Kou can use any such SDTi or D;i synth that you already have installed. *n this e,ample, we will be using V6-i Rea6yn%$ E9oc(osF, which is included with '()P('. For the time being, leave the 'eaDynth parameters at their default settings. R. Press 9%r/ R to start recording. Play a simple tune on the Sirtual Ceyboard. -se your mouse or PC Ceyboard G e.g., D4cvbvc4D will play half a scale up and down. =hen finished. Press 9%r/ R again to stop recording. *f prompted, save your media item. *n Chapter %! we will see how your *D* data can be edited using '()P(':s built in midi editor. Procedure for P/aying 5ac( a 3171 1%e) Play the track. )s it plays, you can alter the nature and shape of the sound by ad@usting the soft synth parameters. =hen you have found a sound you like, you can click on the W button in the F; =indow Aindicated by the mouse cursor, shown leftE and then choose 6ave Prese% to name and save that set of parameters. Kour named preset can be recalled from the Preset drop down list any time. Kou can make and use presets in this way for all F; Plug.ins and Dynths. =ith SDTi synths, you are also able to import and e,port patch3bank files Asee aboveE. =o%e2 The e,ample above demonstrates an important difference between *D* and )udio. =ith Audio the actual sounds made by the instrument or voice are recorded. *t is possible to use F; like (F and Compression to alter how the audio item sounds when played back, but the audio item itself stays the same. =ith 3171, 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 synthesi<er. >y changing the parameters of the synthesi<er:s settings G or even by changing the synthesi<er G we are able to produce a completely different sound. Despite these differences, both audio and *D* items can be included on the same track.

For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) R#

Up and Running: A REAPER User Guide v 4.59

=o%e: >efore recording, you can assign seHuential input channels to a number of *D* tracks in one action. Delect the tracks, then click on the 1npu% button for any one of them. From the menu, choose first Assign inpu%s seIuen%ia//y, then 3171 EseIuen%ia/ inpu%s or c$anne/sF, then select the *D* device, then the channel selection Ae.g. for four tracks, perhaps channels % to &E.

A.!B

*%$er 3171 Recording 3odes

=hen recording *D*, you should select one of si, modes. *n the above e,ample, we used Record 1npu%. =ith this mode, any e,isting events will be retained2 the new material will be recorded as a new take. Four of the other five are Record: 3171 overdub rep/ace modes2 Record 3171 overdub2 this will add new notes on any channel 'i%$in e,isting items while preserving what is already there. Record 3171 rep/ace2 from the time you start recording until you stop, e,isting *D* notes will be removed and any new material played on any channel will be recorded in their place. Record 3171 %ouc$-rep/ace2 e,isting *D* notes will be replaced by any new notes played over them on the same channel as the original material. )ll other e,isting material will remain as it is. Record 3171 /a%c$-rep/ace2 e,isting *D* material remains unchanged until you strike the first note. )ll of the old material will then be replaced with notes played on the same channel as the original material until recording is stopped. Record *u%pu% -M Record: ou%pu% E3171F2 Dimilar to the input mode, but records the *D* signal coming out of the F; chain. ?ote that these options can often be used effectively with time selection recording Asee sections 1.%R to 1.%6E and looped time selection recording Asee belowE. -ry i% no'2 *f you have a *D* keyboard, open the pro@ect file A// -$roug$ -$e =ig$% .A0ER6.RPP Awhich you saved earlierE and add a *D* keyboard track to this pro@ect.

A.!C

.ooped *verdubbing and .ooped -i)e 6e/ec%ion Recording

Ooop overdubbing allows you to make repeated overdubs of a section of recorded material without having to be repeatedly stopping and starting. The techniHue can be used with both audio and *D*. *n both cases, you will need to check your *p%ions? Preferences? Audio? .oop Recording settings. (nable +$en recording and /ooped add recorded )edia %o pro:ec% *n s%op. -sually you will also want to enable 1n /oop recording? discard inco)p/e%e firs% or /as% %a(es if a% /eas% one fu// /oop 'as recorded . Kou should also Afrom '()P(':s main *p%ions menuE disable .oop poin%s /in(ed %o %i)e se/ec%ion and enable -i)e se/ec%ion au%o-punc$. ?ow arm your track for recording, select your record options and make your time selection @ust as you would for normal punch recording. Click and drag along the timeline to create the loop G this should enclose the time selection, as shown below. ake sure -ogg/e repea% Ane,t to 'ecord buttonE is enabled on the Transport >ar. =hen Record inpu% Eaudio or 3171F is selected, then both audio and *D* essentially behave in a similar way. =hen you record, a new take will be created within the time selection for each pass over the loop until you press 6%op. The loop is used to audition material immediately before and after the section being recorded.

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A - Recording 'i%$ REAPER

For e,ample, you might choose 3oni%or inpu% and Record 1npu% Eaudio or 3171F and 1npu% 3171 then your *D* device. *f so, the outcome will be similar to that shown here. *n this case, you have three takes for the time selection passage. )udio material recorded with 1npu% 3*=* rather than 1npu% 3171 would produce a similar result, e,cept of course the media items would be audio instead of *D*. Kou will, however, get significantly different outcomes if you use any of the Record: 3171 overdub&rep/ace options with looped time selection recording . *n each case, new takes will not be created. *nstead, the e,isting take will be edited. For e,ample2 Record: 3171 *verdub2 with each loop, the new material will be added to the e,isting material within the time selection. Record: 3171 Rep/ace2 with each loop, all previous material within the time selection will be replaced with new material. For e,ample, the first loop will replace e,isting events within the time selection. Decond time around it will replace the material recorded in the first loop with new events, and so on. Bnly the most recent material will be saved. Record: 3171 -ouc$-rep/ace2 (ach time you play a note within the time selection any e,isting material concurrent with that note will be replaced with new material is on the same channel. For e,ample, if you play correctly e,cept for one wrong note first time, you can correct @ust that one note second time round. Record: 3171 .a%c$-rep/ace2 (ach time round the loop all e,isting material in the time selection will be replaced with new material if on the same channel only from the moment you press your first note. This techniHue can be useful, for e,ample, if you are replacing e,isting material little by little.

A.!9

Recording +i%$ a Vir%ua/ 1ns%ru)en%

To use a virtual instrument Asuch as a SDTi or D;i plug.inE for recording a *D* track, you should choose the 1nser% vir%ua/ ins%ru)en% on ne' %rac(> command. This can be done either by choosing 1nser% from the main menu Athen Vir%ua/ ins%ru)en% on ne' %rac(E, or by right clicking over the vacant Track Control Panel area and selecting the reHuired command from the conte,t menu. Kou will then be presented with a selection of all the virtual instruments that you have installed on your system. Double.click on the reHuired item. The track will be created, armed and named and the instrument displayed. The e,ample shown here is for Rea6yn7r, which reHuires four outputs. *f the item selected is one that Alike thisE reHuires multiple outputs then '()P(' will create the initial track and prompt to ask you if you would like the other reHuired tracks to be automatically built. *f you select 0es the entire output chain will be built for you. =hat e,actly this produces will, of course, depend upon which Sirtual *nstrument you have selected. 3oni%oring an E4%erna/ 6yn%$esiDer *f you are working with an e,ternal hardware synthesi<er then it is likely that at times you may wish to monitor its output in '()P('. This topic is covered in Chapter %!, anipulating and (diting *D* *tems.

A.A"

Using 3icrosof% G6 +ave%ab/e 6+ 6yn%$

Kou can use the icrosoft /D =avetable Dynth if it is included with your version of =indows. This can be especially useful for playing any *D* files that you may wish to import into '()P('. Kou will be shown how to import files later in this section. For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) RQ

Up and Running: A REAPER User Guide v 4.59

To enable the icrosoft /D =avetable D= Dynth2 %. /o to *p%ions? Preferences and display the 3171 7evices screen. !. -nder *D* Butputs, right click on icrosoft /D =avetable D= Dynth and select Enab/e *u%pu%. 1. Click on App/y, then on *H. This Dynth will now be available as a *D* Mardware Butput. Kou can if you wish now use the 3icrosof% G6 +ave%ab/e 6+ 6yn%$ as your output device instead of using a software synth Asee aboveE.

A.A#

1)por%ing 3edia: %$e 3edia E4p/orer

Kou can incorporate e,isting media items Asuch as P1, *D* and =)S filesE into a '()P(' pro@ect. This can be done from the main menu, using the 1nser%? 3edia Fi/e >, but itIs often easier and more fle,ible to use '()P('Is 3edia E4p/orer. The edia (,plorer includes several features that make it easier for you to insert items. The edia (,plorerIs state is toggled between displayed and hidden using the Vie'? 3edia E4p/orer command, or the keyboard shortcut 9%r/ A/% 8. )mongst the edia (,plorerIs useful features are these2 The edia (,plorer can be docked and undocked in the usual way or from the *p%ions menu. Kou can navigate to display of any folder:s contents in its main window, by clicking on the small button with two dots, located @ust below the Bptions command. -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 #"

A - Recording 'i%$ REAPER

Kou can filter the items listed in the main media e,plorer panel by typing a te,t string in the fi/%er bo,, shown here @ust above the Date column. *n the file list shown above, for e,ample, you could type be// to show only those items whose name includes the word bell. Deleting this te,t removes the filter. The drop down list Aright of filter bo,E can be used to display file details Aas shown hereE or file names only. Kou can add the currently displayed folder to the edia (,plorerIs shortcut list by using the 3edia E4p/orer? Add curren% fo/der %o s$or%cu%s /is% command. Delect any folder on the Dhortcuts list to display its contents. ?otice the Transport >ar beneath the Dhortcuts Panel G From left to right, its four buttons are Play, Pause, Dtop and 'epeat. There is also a hori<ontal fader which can be used to ad@ust the volume of playback. Kou can also click on any part of the displayed waveform to play back from there. -se the mousewheel to <oom in and out of the media peaks hori<ontally. Display of waveform peaks can be turned on and off from the *p%ions menu. >y clicking on the 1* button Ane,t to Transport >arE, you can direct the Preview to any audio output. The peaks within the preview window can be <oomed using your mousewheel. Kou can also scroll by holding 6$if% while you drag the mouse left or right. Kou can mark any time selection by clicking and dragging over the preview display, and move a selection left or right by holding A/% while you drag the mouse. *f Au%o p/ay is enabled, you can automatically previe' any file in the edia (,plorer by clicking on its name. *t will play when selected. There is also an option to 6%ar% on bar. Bn the *p%ions menu there is also an option to Au%o advance %o ne4% fi/e af%er previe'. This will only work if the repeat function on the transport bar is set to off. The Pi%c$ rotary control ad@usts the pitch of the item being previewed. Double.click to reset. To ad@ust the height of the waveform preview, click and hold the mouse on the top edge of the preview area, then drag up or down. To avoid possible clashes of tempo, you can select an option Aincluding -e)po 3a%c$ *ff and -e)po 3a%c$ *nE from the drop down list in the preview area. There is also a toggle option to 6%ar% on 5ar. The *p%ions menu includes a toggle option to Preserve pi%c$ '$en %e)po )a%c$ing. 'ight clicking over the name of any media item will produce a conte,t menu of choices Ashown hereE for inserting that item into the current pro@ect. These choices are 1nser% in%o pro:ec% Aon currently selected trackE, 1nser% a% %i)e se/ec%ion Es%re%c$&/oop %o fi%F Aif a time selection is currently activeE, 1nser% in%o pro:ec% on ne' %rac(, 1nser% as %a(e in se/ec%ed i%e) AreHuires an item in the pro@ect to be selectedE, Use as )edia source for se/ec%ed i%e) in place of that item:s e,isting media source, Use as )edia source for se/ec%ed i%e) Es%re%c$&/oop %o fi%F in place of that item:s e,isting media source, and Previe' Delected items can also be inserted into a pro@ect by dragging and dropping, or by double.clicking on the item, or pressing En%er Asee ne,t pointE. The default behavior when double.clicking or pressing En%er on a selected item is determined by an *p%ions menu setting 7efau/% ac%ion Edoub/e-c/ic( or en%er keyE Ashown on the rightE. Bptions for selected media items include 1nser% )edia on se/ec%ed %rac(, 1nser% )edia on ne' %rac( and 6%ar% previe'. Bptions for selected pro@ects include *pen pro:ec%s in curren% %ab and *pen pro:ec%s in ne' %ab. The *p%ions menu also includes the command Use +indo's E4p/orer for bro'sing. *f enabled, this causes the whole =indows (,plorer conte,t menu to be available to you when right.clicking on an item. *f disabled, only '()P(':s edia (,plorer commands are shown. *f you mark a time selection within the edia (,plorer preview, you can right.click or drag and drop to insert only that selection. For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) #%

Up and Running: A REAPER User Guide v 4.59

ultiple selections can be inserted from the conte,t menu or by dragging and dropping. The 3edia screen in the Preferences window includes a setting for the default behavior of multiple insertions. *f in doubt, set this to Pro)p% User. Dee also section A.AA. Dee end of Chapter for summary list of media formats supported by '()P('.

A.A!

9rea%ing and Using a 3edia E4p/orer 7a%abase

=ithin the edia (,plorer Dhortcuts panel you can create your own database Aor databasesE to further customi<e how your samples and media files are organi<ed and displayed. Bne benefit of this is that it lets you display together files that might be stored in different folders. For e,ample, you might use different folders for various types of drum samples Asnare, kick, hi hat, etc.E. There might, however, be times when you would want to see the contents of these various folders listed together. To do this, you could create a database called 7Drums Sarious8 and add all of these folders to that database. Databases are set up and managed using right.click conte,t menus in the 6$or%cu%s column. 1n order %o do %$is > 9rea%e a da%abase 7o %$is >. 'ight.click over empty area in Dhortcuts column. Choose 9rea%e ne' da%abase... from the menu. Type a name, press En%er. Add fo/der con%en%s %o da%abase Delect database in Dhortcuts column. 'ight.click over its name and choose Add pa%$ %o da%abase > from menu. ?avigate to reHuired folder, select it and click on *H. 'epeat this to add more folders. Re)ove a fo/der con%en%s fro) da%abase 9$ange da%abase na)e Upda%e da%abase con%en%s %o ref/ec% c$anges in fo/der con%en%s Re)ove a da%abase Delect database in Dhortcuts column. 'ight.click over its name and choose Re)ove pa%$ fro) da%abase... from menu. ?avigate to reHuired folder, select it and click on *H. Delect database in Dhortcuts column. -se Rena)e da%abase... command on conte,t menu. Delect database in Dhortcuts column. From conte,t menu use 6can da%abase for ne' fi/es to search for and add new files, Re)ove )issing fi/es fro) da%abase to remove deleted files. Delect database in Dhortcuts column, use Re)ove da%abase command from conte,t menu.

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A - Recording 'i%$ REAPER

A.AA 6e%%ing a 7efau/% 3edia E4p/orer Ac%ion

Dhown here is the edia (,plorer Bptions menu. ost of the commands and options on this menu reHuire no further comment, but one that does is 7efau/% ac%ion Edoub/e-c/ic( or en%er (eyF. This can be used to specify what happens when a file name in the edia (,plorer is double.clicked. For e,ample, choices include 6%ar% Previe', 1nser% )edia on se/ec%ed %rac(, 1nser% )edia on ne' %rac(. For .RPP files, you can also choose between *pen pro:ec% in curren% %ab and *pen pro:ec% in ne' %ab. This enables you to open any e,isting pro@ect file easily from inside the edia (,plorer.

A.A4

1)por%ing 3u/%ip/e Audio Fi/es

=ave and other audio files can be imported directly into a pro@ect via the edia (,plorer. For e,ample, if you have a set of wave files that have perhaps been e,ported from another D)= application such as Cubase or Donar, you can import them all together and automatically create a new track for each. )lternatively, you can @ust drag and drop the files from '()P('Is edia (,plorer window, or even from =indows (,plorer. Dpend some time e,ploring the options under *p%ions? Preferences? 3edia Anot )ppearance, ediaE. These are summari<ed and e,plained in Chapter %Q. Mowever, in particular you should be aware of the choices that you have when importing multiple media items Kour four options as the default behavior when you import more than one item together are2 1nser% in one %rac( Eadvancing %i)eF G each is placed one after the other in the same track. 1nser% across %rac(s G each item is placed in a separate track, all starting together. 7ecide au%o)a%ica//y G if files are of the same length Afile si<eE they will be placed in separate tracks, otherwise they will be inserted seHuentially in the same track. Pro)p% user G you will be prompted each time to indicate whether to insert the items on separate tracks or seHuentially on a single track.

A.A5

1)por%ing Par% of an Audio Fi/e

To import part of an audio file into your pro@ect, simply follow this procedure2 %. Delect the file within edia (,plorer. !. Click and drag along the waveform preview to select the portion that you want to import. 1. Drag and drop the selected area into your pro@ect, or right.click and use the menu. The conte,t menu choices are the same as those shown in the table on the previous page. *n addition, you can use 9%r/ A/% while dragging and dropping your selection for either of two special purposes2 To a track in arrange view to render the selection as a new loopable file, inserted into that track. To a sampler plug.in or other application to e,port the selection, tempo matched to the sampler.

For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) #1

Up and Running: A REAPER User Guide v 4.59

A.A@ 1)por%ing 3171 Fi/es

To preview a *D* file in edia (,plorer, first create an empty track in your pro@ect and insert a virtual instrument or synthesi<er into that track:s F; chain. Kou can then select any *D* file in edia (,plorer and preview it. Kou can also select any part of a *D* file to import2 use the same techniHue as that described immediately above. 'ight.click over the file to choose one of the insert options. =hen you import a type % *D* file into '()P(', you are offered the option of separating the tracks, or importing the file as one track. ) message such as that shown on the right will appear. *f you enable the E4pand option, the file will be imported as a series of separate tracks, one for each channel. Btherwise, the material will all be imported onto different channels within a single *D* track. Kou have also the options of merging the *D* files tempo map to the pro@ect tempo map and3or importing any *D* markers Aif presentE as pro@ect marekers. There are several methods available to you to then assign these tracks to an e,ternal synth for output Ato enable you to play the songE. This is one suggestion2 %. )dd a new track immediately above the first of your *D* tracks. !. ake this a folder track all of with your *D* tracks contained within the folder. 1. *nsert a synthesiser Asuch as 'eaDynthE into the F; chain for the folder track. &. Dave and play the file. Kou:ll learn more about folders and how you create them, set them up and use them in Chapter &.

A.AB

1)por%ing 3edia fro) Audio 97

Kou can use '()P(':s edia (,plorer to import into a pro@ect material from an audio CD Asuch as you might play on a CD playerE. This could, for e,ample, be material that you have previously rendered to audio yourself, or it could be material that has been passed to you for inclusion in a pro@ect. To use this facility you should follow this seHuence2 %. *nsert an audio CD into your PC CD drive and wait for it to be read. !. Display the edia (,plorer, select 3y 9o)pu%er in the left panel, then double.click in the main panel on the letter which represents your CD drive. 1. The contents of the CD will be displayed in a similar fashion to that shown above. *n this e,ample, the CD drive is labelled 8:. &. To play ApreviewE any track from the CD, right click over that track then choose Previe' from the conte,t menu Asee aboveE. Depending on whatever software is on your computer, you may also see some non. '()P(' related commands below this. P. To insert the contents of a track into your pro@ect as a media item, right click over that track and choose one of the other commands from the menu. (ach of these commands works as e,plained in Dection 1.1". )lternatively, you can double.click on the item to insert it into the currently selected track, or drag and drop to insert either on to an e,isting track or to a new one.

A.AC

Recording 'i%$ Audio F8 P/ug-ins

)udio effects AF;E are usually added to a track later in the production process, well after the material has been recorded. This sub@ect was introduced in Chapter !, and you:ll find more about it elsewhere Afor e,ample, in Chapter %&E. Mowever, '()P(' does allow you to add effects to material as it is being recorded if you wish. -se

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A - Recording 'i%$ REAPER

this facility with caution, as once an effect has been added to a recorded item in this way it cannot be easily removed Aif at allE. The procedure for recording with F; is as follows2 )rm the track for recording and select the reHuired audio or *D* input device in the usual way. 'ight.click on the 'ecord )rm button and choose -rac( inpu% F8 c$ain from the conte,t menu. This causes the Add F8 %o -rac( window to be displayed. 1. Delect any effect reHuired, then click on *H. Det the parameters for this effect. &. -se the Add button to add any additional effects. P. Close the F; window. R. )udition the performance and the effects as necessary Asee comment belowE, then record the track in the usual way. (ffects placed in a track:s input F; chain only use resources when the track is armed, and are applied destructively to the media item during recording. ost probably, before doing this you will want to audition the instrument or voice being recorded together with these F; so that you can get the parameter settings right. To do this, you simply need to keep the track armed and turn on input monitoring while you listen to the live material and ad@ust the F; parameters to suit. *nput monitoring is e,plained elsewhere in this guide, for e,ample in the sections dealing with layered and overdub recording. %. !.

A.A9

Recording a -rac(Ns *u%pu%

There could be any number of reasons why you might wish to record a track:s output. Bne e,ample might be to record the output from an e,ternal synthesi<er directly onto an audio track, as a wave file or similar. Mere is an e,ample of how you might do this2 %. ake sure that your *D* keyboard is connected to your PC. !. Create a new track. ?ame it and arm it for recording. (nable input monitoring. 1. Delect Record: ou%pu% then your reHuired option. ost likely this will be mono, latency compensated. &. Delect 1npu%: 3171, then select your input device from the available options. P. ake such ad@ustments as you need Afor e,ample to the synthesi<er parametersE while you audition the music. R. =hen ready, record. #. Dtop recording when finished.

A.4"

Recording F8 *n -$eir *'n

Kou can record a track:s F; on their own. This could be the output of a single F; or an entire F; chain. Doing this opens up all sorts of creative options later when it comes to mi,ing. Mere:s an e,ample2 %. *n a pro@ect file, select a F8 5us track and arm it for recording. !. Kou might wish to also turn up the trackIs Receives to get a good strong signal G you can always turn down the volume when playing it back later. 1. Det the track to 3oni%or 1npu% and chose a Recording 3ode. This is likely to be *u%pu%? 6%ereo. &. Play the song and monitor the signal level. P. 'ewind to start and press 'ecord. R. Dtop recording when finished. -ip2 *f you do this, you will most likely want to set the track:s F; to bypass mode after doing so. *t is nevertheless a good idea to leave the F; inserted in the trackIs F; bin, as a record of how the F; was produced.

For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) #P

Up and Running: A REAPER User Guide v 4.59

A.4# Recording 'i%$ E4%erna/ ,ard'are F8

'()P(' can record a track with an e,ternal hardware F; device in much the same way as you might use an e,ternal device as an insert when recording on an analog desk. Kou use a plug.in called Rea1nser%. *f you want to try it out step by step, create a new '()P(' pro@ect file, insert a track, then get your F; device ready.

E4a)p/e
%. Connect an otherwise unused audio output to the input for your F; device. Connect the output of your F; device to an otherwise unused audio input. !. Create a new '()P(' pro@ect file and add a single audio track. /ive this track a suitable name. OetIs record a vocal with the F; on it. 1. Connect your microphone to an otherwise unused audio input. Dwitch on the F; Device. &. )rm the track for recording. P. Delect the input device Ato which the line or microphone is attachedE, select 3oni%or 1npu% and specify that you want to Record *u%pu% and choose your reHuired option Asuch as 3ono? .a%ency 9o)pensa%edE, @ust as we did in the section Recording a -rac(<s *u%pu%. R. ?ow display the F; =indow for this track, and add the F8 V6-:Rea1nser% to this window Asee rightE. #. Dpecify the actual Mardware Dends and 'eturns that you set up at steps %. and 1. 6. ake sure the F; Device mi, is set to %""L Dry, then click on Au%o 7e%ec%. This enables '()P(' to calculate the reHuired degree of delay compensation. Q. =ith the trackIs output directed to your headphones, monitor the reHuired Solume and F; Oevels, including the F; =et3Dry mi,. %". =hen you are ready, 'ecord. %%. =hen finished, donIt forget to disarm the track and set the 'ea*nsert plug.in status to 5ypass.

A.4!

Preference 6e%%ings for Recording

The Recording page of the Preferences window can be used to specify a number of options about '()P('Is recording behavior. )vailable options include2 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 havenIt, for e,ample, forgotten to arm one or more tracks. Kou can also specify a screen update freHuency. =hen to build the peaks for recorded media files. To automatically display the whole Track Control Panel Aincluding S- metersE when a track is armed. =hether to prompt to save3delete3rename files when recording is stopped. *f you disable this option, files are automatically saved. =hether to prompt to save3delete3rename files on punch out. *f you disable this option, files recorded by this method are automatically saved. =hether to start recording to a new file after a specified number of megabytes. This can help to make data secure when recording a long live performance,. -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 #R

A - Recording 'i%$ REAPER

Prevent recording from starting if no track is armed. Kou may wish to turn this off if you are using layered recording for a track Aor tracksE where recording is not reHuired to start until some way into the song. =hich items to include in the file names for recorded media G you can include any combination of the track inde, number, the track name and the time stamp Aor none of theseE. To check for free disk space before recording, and to display the amount of free disk space and3or recording path on the menu bar.

A.4A

-rac( Preferences for Recording

The '()P(' -rac( 7efau/%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 Pro:ec%? -rac(&6end 7efau/%s page of the *p%ions? Preferences window. Dettings on this page include2 The default gain level for the trackIs volume fader. =hether output should be routed to the ain send. The default new track height. =hether new tracks are automatically armed for recording. ) 'ecord Config option to set defaults for the 'ecord )rm conte,t menu. Bptions include, to turn on by default *nput onitoring and specify default record input settings. =hich 'ecord ode should be the default for new tracks. ?otice also that under *p%ions? Preferences? Appearance? VU 3e%ers&Faders there are settings which together determine how your track S- meters are presented. For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) ##

Up and Running: A REAPER User Guide v 4.59

For e,ample, you can choose whether or not to 6$o' %rac( inpu% '$en record ar)ed and to 3a(e obvious %$a% %rac( inpu% is c/ic(ab/e. Disabling this latter option may improve the clarity of the display on your S- meters. (nabling 6$o' db sca/es on record ar)ed %rac( meters and 6%ic(y 9/ip 1ndica%ors helps you to monitor peak levels. *D* users may wish to 6$o' 3171 ve/oci%y on %rac( VU and3or 6$o' 3171 ou%pu% ac%ivi%y on %rac( VU. Kou can also specify whether to Rese% pea( indica%ors on p/ay&see(. *f enabled, the numeric peak indicators on track and master Smeters will cleared when playback is restarted or the play cursor moved.

A.44

Recording 'i%$ 3i4ed 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 Pro:ec% 6e%%ings. To change these for any track, simply right click over the trackIs S- meter, then from the menu choose -rac( Recording 6e%%ings. Kou can choose any of the formats +AV, A1FF, 3on(eyNs Audio, F.A9, 3PA, *GG Vorbis, or +avPac( /oss/ess co)pressor. Depending on the format you choose, you will be presented with a range of options appropriate to that format.

A.45

REAPER Audio Recording 9$ec(/is%

The following checklist is for guidance only. *n some cases you may vary the suggested order Ae.g., you can switch on your PC and start '()P(' before getting together your microphone and leadsE. *n other cases the order is critical Ae.g. you should always connect your microphone to your preamp before turning on the phantom power supplyE. *f you are not sure, keep to the e,act same seHuence outlined here. 1%e) Prepara%ion 9o))en% Det up all e,ternal recording eHuipment needed Amicrophones, stands etc.E. )ll faders and gain controls on mi,er and3or sound device turned right down. Phantom power Aif availableE turned off. (verything connected that needs to be connected Ae.g. microphone leads to mi,er or sound deviceE. Turn eHuipment on, but check volume on speakers isn:t too loud. Connect headphones to headphone amp or sound device. *f phantom power reHuired Afor condenser microphoneE, turn it on. Turn on PC and wait for =indows to open. Bpen '()P(' with reHuired pro@ect file. Dave file. Check recording format and settings G e.g. !& bit =)S at &&%"" M<. *s a different format reHuired for this track4 ake sure 'ecord ode is set to ?ormal.

P9 Pre/i)inaries Pro:ec% 6e%%ings

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A - Recording 'i%$ REAPER

1%e) -rac( 6e%%ings 9o))en% ?amed and armed for recording4 Track *nput onitoring on or off4 -se the Dound CardIs direct input monitoring if available in preference to '()P('Is. 'ecord *nput selected4 Correct input channel selected4 Dtart low and work up. 'ecord a small sample to test levels2 the e,amples here show too low, too high and about right. *t is better to be too low than too high. Press 9%r/ R to record and again to stop recording when finished. Dave media items. Press 9%r/ 6 to save pro@ect file. -narm track before playing back recorded tracks to evaluate them. (specially if listening thru headphones, disable *nput onitoring Aor turn faders and gain controls on the input device right downE, to prevent live ambient sounds from being mi,ed in with your recorded material.

-es% Recording .eve/s

Recording Eva/ua%ing

A.4@

Recording an 1n%erne% Audio 6%rea)

Kou can use '()P(' to record an audio stream from the internet. >efore doing so you should make sure that you are not in breach of any copyright restrictions. The e,act method will depend on your hardware setup, including your sound card. Kour sound card should include some sort of software for changing its settings. This may or may not have its own icon within the =indows Control Panel. *f you are not sure how to access it, you can click on the =indows 6%ar% button, choose Run, then type sndvo/A! Or 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 Adepending on the options availableE the reHuired option. Kou should probably temporarily disable input from all other sources A icrophone, Oine, etcE. !. Bpen your web browser and find the page containing the item that you wish to record. 1. Bpen '()P(', create a new file and add a track. &. The ne,t step may reHuire a little e,perimentation. Depending on the eHuipment you are using, it might be necessary to change your *p%ions? Preferences? Audio? 7evices settings to 7irec% 6ound. )n e,ample is shown here. These settings may not be the best for your particular system. P. )rm your track for recording, making sure to select the correct input. R. Press 9%r/ R to start recording. *n your web browser, play the item that you wish to record. =hen finished, stop recording and save your work. =o%e: DonIt forget when you have finished, to restore both your Dound Card 'ecording Control options and '()P('Is )udio Device Preferences to their previous settings.

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Up and Running: A REAPER User Guide v 4.59

A.4B 9onver%ing Audio 3edia 1%e) For)a%

*n this internet age in which we live, it is becoming increasingly common for musicians to want to collaborate on pro@ects all the way across the world. Consider this scenario. Kou have a part recorded pro@ect of perhaps P" or more !& bit wave files. *n some far off land you have a friend who has offered to lay down a track such as a flute. Kou:d like to get your source files to her, so that she can do this for you, layering it down against whatever headphone mi, best suits her. Mowever, your recorded material so far comes to over 1 /> and she doesn:t have a particularly fast internet connection. Bne solution could be to convert the files to a compressed format and send her those. There:s a Huick way to do this, using the Fi/e? 6ave pro:ec% as > command. Choose this command and follow these steps. %. *f you wish, navigate to a reHuired parent folder. !. (nable the three options to 9rea%e subdirec%ory for pro:ec%, 9opy a// )edia in%o pro:ec% direc%ory, and 9onver% )edia. 1. Click on the For)a%... button to display the settings bo, shown above. &. (nable the option Atop leftE 6e% for)a% %o save as. P. Delect your reHuired format Ae.g. FO)C, P1 or, as shown here, B// SorbisE. R. Dpecify your preferred format settings. #. Click *H then 6ave. )ll audio media items in the pro@ect will be converted to the specified format as they are copied across. The format of the original items will remain unchanged. Kou can also convert and e,port selected individual media items from one format to another without having to convert the whole pro@ect. This topic is covered in Chapter %6.

A.4C

3edia Fi/e 1)por% For)a%s

*D* Caraoke A.C)'E = S3= ) Sideo =eb A.=eb E P(/ )udio A. P!, . P1E A.= ), .= SE =)S A.=)S, .=R&, .>=FE B// Sorbis A.B//, . B//E C Sideo A. CSE )*FF A.)*F, .)*FFE 'ecycle A.';!, .'(;, .'CKE OCF Capture Sideo A.OCFE =)SP)CC A.=SE )S* Sideo A.)S*E Fuicktime A. BS, .FT, . &S, P/ Sideo A. /,. P(/E . P&E

Files can be imported into '()P(' in any of the following media formats. CD )udio A.CD)E DDP A.D)TE FO)C A.FO)CE *D* A. *DE *D* Dystem (,clusive essage A.DK;E

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4 - Pro:ec% Arrange)en% 5asics 4

4.#

Pro:ec% Arrange)en% 5asics

3anaging -rac(s

*n Dection !, we introduced some very basic '()P(' track management features, such as Solume, Panning, ute and Dolo. *n this section, we will be e,ploring these features in more depth, as well as introducing several others, including moving and removing tracks, the use of track folders and track parameter grouping. any of the commands and actions involved in track management are available from the menu that is displayed when you right click over any track number. The illustration ArightE shows these. 'emember that at any time you can use 9%r/ Q to undo your last action. '()P('Is -ndo capabilities are described in more detail later in this section. -ip2 >efore continuing, you might wish to open the supplied pro@ect file A// -$roug$ -$e =ig$%.RPP and save it to a new name such as A// -$roug$ -$e =ig$% E71-6.RPP. Kou can then use this file to try out and e,periment with some of the ideas presented in this section.

5asic -rac( 3anage)en%

) number of techniHues can be used for carrying out these various track management tasks. -as( 3ove a %rac( up or do'n %$e %rac( order 3ove %'o or )ore ad:acen% %rac(s up or do'n 3e%$od Click on the track number, then click and drag the track up or down the track list, then release the mouse. edia items are moved with the track. Click on the track number for the first track, then hold 6$if% while clicking on the track numberAsE of the last of the tracks that you wish to select. Then click and drag up or down. )gain. all media items are moved with the tracks. Click on or around the track number, the press 7e/e%e, or right click and choose Re)ove %rac(s. )ll media items are removed with the track. -se 9%r/ with the left mouse click to make your selection, then press 7e/e%e, or right click and choose Re)ove %rac(s. )ll media items are removed with the tracks. 'ight click over the track number, choose 7up/ica%e se/ec%ed %rac(s. )ll media items are duplicated with the track. To do this with more than one track, select all reHuired tracks first. Click on the track number. Press 9%r/ 9. ove to the reHuired location then press 9%r/ V. )ll media items are duplicated with the tracks. To do this with more than one track, select all reHuired tracks first. 'ight click anywhere in the Track Control Panel area, below the last track. Choose 6$o' )as%er %rac(, or use the keys 9%r/ A/% 3 to toggle. Click and drag right3left on the boundary between the TCP and the arrange area. )s the TCP becomes narrower, some controls may disappear from view and faders may change to knobs.

7e/e%e a %rac( 7e/e%e %'o or )ore %rac(s

9opy a %rac( as %$e ne4% %rac( 9opy a %rac( %o a specified /oca%ion 7isp/ay %$e 3as%er in -rac( Vie' 3a(e %$e -rac( 9on%ro/ Pane/ 'ider&narro'er

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Up and Running: A REAPER User Guide v 4.59

4.! -rac( 9on%ro/ 3odifiers

Four of the items used when auditioning tracks are the Vo/u)e? Pan? 3u%e and 6o/o controls. These controls were introduced in Chapter !. The +id%$ control is also shown here. This is only displayed if you select the stereo pan or dual pan law Afrom the pan fader right.click menuE. This will be discussed in Chapters %" and %%. >y default, volume and pan faders control audio output. *f you wish instead to use them for data on *D* channels for any trackAsE you should first select the tracks, then right.click over the track number and choose 3171 %rac( con%ro/s then one of the .in( %rac( vo/u)e&pan %o 3171 options from the menu Asee Chapter %!E.

Vo/u)e and Pan 9on%ro/s

3odifier Hey A/% 9%r/ 6$if% 9%r/ 7oub/e c/ic( 'i%$ Vo/u)e Fader =hen mouse is released, fader returns to its original position. =ith more than one track selected, only the current track is affected. )llows more precise control of fader level. 'eset to <ero. 'i%$ Pan Ro%ary =hen mouse is released, fader returns to its original position. =ith more than one track selected, only the control for the current track is affected. )llows more precise control of fader level. 'eset to centre.

3u%e and 6o/o 9on%ro/s

3odifier Hey 6$if% 9%r/ A/% 9%r/ A/% 9%r/ 6$if% 'i%$ 3u%e 5u%%on =hen more than one track is selected, only the current track is toggled. Clears all mutes. -nmutes selected trackAsE, mutes all others. utes selected trackAsE, unmutes others. ?ot applicable 'i%$ 6o/o 5u%%on =hen more than one track is selected, only the current track is toggled. Clears all solos. Dolo selected tracks only, e,cludes output from any sends. Dolo e,clusive2 Dolos selected trackAsE, unsolos all others. Toggles Dolo Defeat mode for the track or track selection. Dee below for more information.

6o/o 7efea%

Dolo Defeat can be used to ensure that a track will still be heard even when another track or track selection is soloed e,clusive.
-$e 3u%e and 6o/o con%ro/ con%e4% )enus The options shown above are also available by right.clicking over the ute and Dolo buttons respectively. These conte,t menus are shown on the right. They can be applied to an individual track or to a selection of tracks. 5u/( -rac( 3u%e&6o/o To mute or solo a range of tracks in one action, click and drag in the TCP from the mute or solo button of the first track in the range to the same button on the last track in the range, then release the mouse button. 'epeat this action to unmute3unsolo all muted or soloed tracks within a range.

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4 - Pro:ec% Arrange)en% 5asics

Vo/u)e and Pan Faders 'ight clicking over the volume fader of any track or folder will open a window displaying volume and pan faders not only for the track itself but also for any sends and receives associated with that track. )n e,ample is shown here. 'ight clicking over the Pan fader opens a window which can be used to change that track:s pan law. This sub@ect was discussed in Chapter !. -ip: >y default, double.clicking on a track number in the track control panel will cause all media items in that track to be selected. Kou can change this behavior if you wish on the 3ouse 3odifiers page of your Preferences. For more information about customi<ing mouse modifiers, see Chapter %1.

4.A

6o/o 1n Fron%

The solo in front feature allows you to hear the rest of your pro@ect Huietly in the background when a track or track selection is soloed. This feature is toggled on and off by the *p%ions? 6o/o 1n Fron% command. The level at which the background tracks are heard can be specified via the Bptions, Preferences, )udio settings page. ?otice that this setting Ain the above e,ample it is set at %6d>E determines the number of decibels by which the background mi, is reduced. This means that the higher the setting the Huieter the background mi, will be heard and vice versa.

4.4

6earc$ing %$e Preferences 6e%%ings

Kou have already come across a number of '()P('Is preferences settings. For e,ample, we have looked at some of the preferences settings for )udio Devices, *D* Devices, 'ecording and Pro@ects. The more you work with '()P(', the more you will realise how very many preferences settings there are. *n fact, there are so many that it can sometimes be difficult to remember which page you need for a particular setting. To help you here there is a te,t bo, and a Find button near the bottom of the Preferences window. Kou can enter any word or phrase in the bo,, click on Find and the first occurrence of that word or phrase will be shown. *f this isnIt the item that youIre looking for, each time you click the Find button the ne,t occurrence of that word or phrase will be shown. *n each case, the item will be displayed with a colored highlight. For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) 61

Up and Running: A REAPER User Guide v 4.59

*n the e,ample shown here, a search for sends has turned up some information about various options for setting the default parameters for track sends when they are created. -ip2 >y default, double.clicking on a track number will cause all media items on that track to be selected. Kou can change this, and3or add mouse modifiers of your own via the Edi%ing 5e$avior? 3ouse 3odifiers preferences page. For e,ample, you could assign A/% 7oub/e-c/ic( to the action Siew2Toggle track <oom to ma,imum height. *nstructions for customi<ing mouse modifiers can be found in Chapter %1.

4.5

-rac( 9o/ors

>esides keeping tracks together in folders, you can use color as an effective means of helping you visually identify the relationship between different tracks. To do this, simply select the track Aor tracksE in the Track Control Panel, then right click, choose the 9us%o) -rac( 9o/ors command, then use any of these commands from the submenu2 9o))and 6e% %rac(s %o cus%o) co/or> 6e% %rac(s %o rando) co/ors 6e% %rac(s %o one rando) co/or 6e% %rac(s %o defau/% co/or The illustration ArightE shows an e,ample of how the 9o/ors interface Adisplayed by choosing the 6e% %rac(s %o cus%o) co/or> commandE can be used to specify different colors for different tracks and groups of tracks. Bn the Appearance page of your Preferences settings ABptions, PreferencesE you can use the -rac( 9on%ro/ Pane/ options to apply your colors to the track label background, the track panel background, or both. Mow the colors will be displayed for your track media items will depend upon which options you select on the Appearance? 3edia page of your Preferences settings. Kou can choose to tint the waveform peaks and3or the background. Kou can also set the color strength Abetween " and &E for both selected and unselected tracks. ore details of these and other )ppearance options are listed and e,plained in Chapter %Q. Effec% Bpens a Color Delection dialog bo, for you to select a color for the trackIs media items. Dets the media items for each track in the selection to a different randomly chosen color. Dets the media items for all tracks in the selection to the same randomly chosen color. 'estores the track:s color to the default for the current color theme.

4.@

9o/or -$e)es

'()P(' also supplies a number of color themes that you can use to present your pro@ects attractively. To select from the themes supplied with '()P(', use the *p%ions? -$e)es command. Kou can modify the colors and other characteristics of your preferred theme by going to the Appearance? -$e)e Edi%or page of your Preferences settings. ore details of this can be found in Chapters %" and %%. *n addition, a very large number of complete -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 6&

4 - Pro:ec% Arrange)en% 5asics

themes are available in the REAPER s%as$. These are available for free download at s%as$.reaper.f) Kou can also visit the '()P(' -ser Forums for more themes.

4.B

-rac( 1cons

*cons can be added to tracks as you wish. Kou can drag your own .P?/ or .$P/ files from =indows (,plorer and drop them on to any track in the track control panel, or right click over the track number and choose 9us%o) -rac( 1cons then 6e% %rac( icon... from the track menu to use any of those supplied with '()P('. This opens the .oad 1)age Resource dialog bo,, from which you can make your selection and click on *pen. Dhown here is an e,ample of a pro@ect which uses track icons. 'emember that if you create a track template from a track which displays an icon, then the icon will be saved with the template. To display these icons also in the i,er, open the i,er, display its menu and choose 6$o' -rac( 1cons in 3i4er. To remove icons from any track or selection of tracks, first select the tracks Ain either the track control panel or the mi,erE then right.click over any selected track icon and choose Re)ove -rac( 1con from the menu. *f you don:t care for the icons supplied with '()P(' G or you can:t find what you want G you can download more track icon sets from the '()P(' stash, at s%as$.reaper.f)

4.C

,eadp$one 3oni%oring

=hile you are listening to and evaluating your various recorded items, itIs usually recommended practice to use the monitors AspeakersE in your studio or control room. Mowever, you may wish also to use headphones from time to time, perhaps for those occasions when you need to focus in detail on a particular track or media item. )ssuming that you have a PC* sound card or other audio device AFirewire or -D>E which supports multiple outputs, hereIs a neat little trick. %. )ssign *u%pu% A/iases %o your outputs, as e,plained in Chapter %. !. Display your 'outing atri, and assign the output from the aster to the Control 'oom speakers. 1. Put on your headphones. &. )s you play the song, click on the appropriate cells on the routing matri, to also direct any particular track on which you wish to focus to your headphones. Bf course, you can change from track to track, or add as many or as few as you want at any time. *n the e,ample shown AaboveE, the entire mi, Afrom the asterE is being heard thru the only track # Vo4 is also being heard thru the headphones. ain Dpeakers, but

'emember that you can right click over this grid cell to display the controls for this send Asuch as SolumeE. This can be also a good techniHue to use when you have with you a musician who wants to particularly hear her own track while you are mi,ing+

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Up and Running: A REAPER User Guide v 4.59

=hen you are mi,ing down, you might not wish to see all of the available routing information available G it can get Huite comple,. Kou might wish to keep the routing matri, display as simple as possible for the @ob in hand. For e,ample, if you are focussed purely on mi,ing, you might not need to see all the various input assignments. 'ight clicking over the background area lets you customi<e its display. *n the e,ample shown here, by unchecking 6$o' audio $ard'are as sources we have simplified the display. *f you have installed 'ea'oute, consider also disabling the options to 6$o' ReaRou%e as des%ina%ions and 6$o' ReaRou%e as sources.

4.9

9rea%ing a ,eadp$one 3i4

Provided your sound card includes at least two pairs of outputs, we can make the process of headphone monitoring easier and more fle,ible by creating a headphone mi,. This is how it is done. %. !. 1. &. P. Connect your Meadphones to your Meadphone )mp, and your Meadphone )mp to one pair of outputs. Create a new track and name it ,eadp$one 3i4. Create sends to this track for any and all tracks that you want to be able to monitor thru your headphone mi,. Choose the *p%ions? Preferences command, select the heading Genera/ then click on the Advanced U1&6ys%e) %'ea(s > button. (nable A//o' %rac( enve/ope&rou%ing 'indo's %o s%ay open. Click *H then *H again to close the Preferences window. Delect your ,eadp$one 3i4 track and open the 1* Rou%ing +indo'. )dd an Audio ,ard'are *u%pu% to the paired outputs to which your Meadphone )mp is connected. Disable the 3as%er&Paren% 6end for this track.

R.

Kou can now use the Pan and Solume faders for your receives, together with the your headphone mi,.

ute buttons, to control

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4 - Pro:ec% Arrange)en% 5asics

4.#" 7isp/aying Grid .ines

'()P(' lets you determine whether or not to show grid lines in your pro@ects. *f you choose to show them, you have a number of options to determine how they are displayed. *n this section we will look at three e,amples of how you might choose to use grid lines if you wish. The display of grid lines is toggled on and off using the Grid button on the toolbar, or the *p%ions? 6nap&grid? 6$o' grid command, or the keyboard shortcut A/% G. /rid line settings are accessed by right.clicking on the Grid button, or choosing the *p%ions? 6nap&grid? 6nap&grid se%%ings command or by the keyboard shortcut A/% .. The e,amples below illustrate the effects of various permutations of grid setting options. These include options for the display of )ar(er /ines. arkers will be e,plained in Chapter 6. 6$o' grid disab/ed.

6$o' grid enab/ed. Dpacing % beat, minimum !" pi,els. /rid line thru items, arker line over items. Dotted grid lines not selected.

6$o' grid enab/ed. Dpacing % beat, minimum P pi,els. /rid line under items, arker line over items. Dotted grid lines option selected.

6$o' grid enab/ed. Dpacing % beat, minimum P pi,els. /rid line over items, arker line under items. Dotted grid lines option selected.

?ote that you also have an option to set the grid line spacing to fra)e rather than to a fraction of a beat. This can be useful when working with video media. AFrame rate is set in Pro@ect Dettings, see Chapter !E. Oater in this guide AChapter P and RE, you will be shown how to use grid settings to automatically snap various ob@ects and items into position.

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Up and Running: A REAPER User Guide v 4.59

4.## Unders%anding 6ends? 5uses? 6ub)i4es and Fo/ders

Kou have already seen that each of the tracks in your pro@ects has its audio output routed by default to the master, and that from here the audio signal is directed to your preferred output device or devices, such as speakers or headphones. The signal flow that occurs here within '()P(' can be represented by the first diagram on the right, which shows a simple pro@ect with @ust three tracks. *n Chapter! of this -ser /uide, you were shown how to use a track as an effects bus, for e,ample to add the same reverb effect to a number of tracks. The signal flow for this arrangement can be represented by the second of the two flow charts Abelow rightE. The sends that you create for each track carry a signal to the >us track, which applies the effect, and then sends the processed AwetE signal on to the aster. )t the same time, so long as the 6end 3as%er&Paren% option remains enabled, the dry signal for each track is also sent directly to the master. Mere it is finally mi,ed together with the 7wet8 signal from the bus before being directed to your speakers and3or headphones. These two e,ample models use routing arrangements that you would e,pect to find in probably any D)= program. Mowever, we are now about to enter territory where '()P(' may be substantially different from other software that you may have used before. This relates to how you can create and use submi,es. =ith most programs, to create a submi, Aperhaps for your various drum tracks or vocal harmoniesE you will need to create a bus, add sends from each track that is to be included in the submi,, and then disable the direct sends to the master from each of these tracks. Kou can use this method in '()P('. Molding the A/% key while you click on a track:s 1* button will toggle on and off the direct send to the master. *f a track:s output to the master is enabled this is shown on the track control panel. *f disabled, the word 3as%er is dimmed. This distinction is shown on the left. *n the first AtopE e,ample, the output from the track to the master is enabled. *n the second AbottomE e,ample, the output to the master has been disabled. Mowever, a smarter and potentially more powerful way of creating a submi, is to use folders Asometimes called track foldersE. =e:ll look at how this is done shortly, but first let:s get our heads around the concept. ) folder track is created initially in the same way as any other track. Kou then tell '()P(' to treat this as a folder track . and essentially that:s it. Kou now have your submi, Aas shown here on the rightE. Direct output to the master from the individual 7child8 tracks within the folder is automatically disabled. *nstead, they are passed thru the folder. ?ote that you should not manually disable the master3parent send for child tracks within a folder, or their output will no longer go to the folder Athe master trackE. -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 66

4 - Pro:ec% Arrange)en% 5asics

)nything that you do to the folder will be done to the entire submi,. For e,ample, if you ad@ust the volume up or down, the volume of the submi, will be ad@usted up or down. *f you add an effect such as a compressor to the folder then that effect will be applied to the submi,. >efore we see e,actly how a folder and its child tracks are set up, there:s one more scenario to consider. (ven when you have a folder which contains a submi, of other tracks, you can still use buses for the folder itself or for individual tracks inside the folder Asee rightE. *n this case our folder Asubmi,E still consists of the same three tracks as before. *n addition, however, a send has been created from the folder to an F; bus, perhaps to add reverb to the submi,. =e:ll see an e,ample of this soon. There are three types of send G Pos%-Fader EPos% PanF, Pre-Fader EPos% F8E and Pre F8. These are e,plained in Chapter %P and illustrated by the flow charts at the end of Chapter P. For the time being, accept the default option, Post.Fader APost PanE.

4.#!

-rac( Fo/der Essen%ia/s

=hen a number of tracks are collected within a folder, you will probably want to use both the individual track controls and the folder controls. For e,ample, you can use the Vo/u)e controls for individual tracks within a folder to set the volume levels for the different tracks relative to each other. Kou can then use the Solume control for the folder itself to control the overall combined volume level of the tracks in that folder. )nother e,ample is that the 3u%e and 6o/o controls for the folder will act on the folder as a whole. Mowever, you do still have the option of using each trackIs individual ute and Dolo controls. The e,ample illustrated ArightE shows a folder called 1ns%ru)en%s that contains three individual tracks. The faint peaks that you see in the folder:s lane in arrange view represent the combined contents of the folder:s child tracks. This can be disabled on your Preferences, )ppearance, Peaks3waveforms page. *dentify the little icons that you can see below the track number of each item in the track control panel. These are used to determine a track:s folder status. Brdinarily, this can be one of four states2 )n ordinary top level track Athe defaultE. The icon is displayed as a faint image of a folder. Mover the mouse over this image and it changes to aJ sign. ) folder track. This is displayed as in the *nstruments track above, as a stronger image of a folder. Mover the mouse over this image and it changes to an 8 Asee rightE. ) child track within a folder. The track is nested and the icon is displayed as a faint image of a folder. Mover the mouse over this image and it changes to a J Asee below rightE The last track in a folder. ) folder icon is shown and the track is nested. Mover over this icon and it displays a down pointing arrow. Kou can click on this icon to set a track:s status. Oet:s work thru an e,ample. #. Bpen the file A// -$roug$ %$e =ig$%.RPP and save it as A// -$roug$ %$e =ig$% Fo/der.RPP 6. ake sure the So, track is track %, /tr >ody track !, /tr ?eck track 1 and >ou<ouki track &.

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Up and Running: A REAPER User Guide v 4.59

Delect track %. Press 9%r/ - to insert a new track immediately underneath this track. This becomes track number !. ?ame this track 1ns%ru)en%s. %". Click once on the folder button for this track. ?otice it becomes a folder and the tracks below it are indented. %%. =e want the bou<ouki to be the last track in the folder. Click twice on that track to set this. )d@ust the panning of the three child tracks as you wish. %!. To illustrate a point, select the >ou<ouki track and press 9%r/ -. ) new track is added outside the folder. %1. ?ame this track Reverb and insert ReaVerba%e into its F; chain. Drag and drop in turn from the *B button of the So, track and the *B button of the *nstruments folder to this 'everb track. This will create two sends. %&. Oower the 'everb track volume to about G %"." db Asee rightE and save the file. %P. Play the file. (,periment with some of the folder controls. For e,ample, mute the folder and you mute all instruments. Dolo it and you solo all instruments. )d@ust the volume and the overall volume of the instrument submi, changes. To restore a folder as a normal track, click on the folder control icon as many or as few times as are reHuired to cycle thru the various options until you see the one that you want. Q.

4.#!.#

7rag and 7rop Fo/der 3anage)en%

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

Mere:s the same pro@ect file as before Ae,cept that this time the 'everb track has already been addedE. Three tracks have been selected and we have began to drag and drop them up. ?otice that the thick hori<ontal bar shown above the first of these tracks occupies the whole width of the track control panel.

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

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4 - Pro:ec% Arrange)en% 5asics

*f you hover the mouse over the folder icon for the >ou<ouki track you should see confirmation that it is the last track in the folder. The drag and drop method can also be used to add tracks into an e,isting folder, and3or to remove them. Mowever, the techniHue may take a little getting used to. (,periment with this now if you wish. ?otice the small down pointing arrow @ust above the track number of the folder track Ain this case Track!E. This can be used to toggle the display of child tracks in the folder between normal Aas shown above leftE, minimi<ed and collapsed Aas shown below leftE.

4.#!.!

=es%ed Fo/ders

'()P(' allows you to nest folders within folders, to as many levels as you like. This feature is probably more suited to relatively e,perienced D)= users than it is to newcomers. To create a nested folder, first create an empty track within an e,isting top level folder, then use the folder control icon to make that track into a folder. >ecause the track is itself contained within an e,isting top level folder, it will automatically be made into a second level folder. The pro@ect shown here is an e,ample of this. ?otice that2 There is a top level folder called So, Tracks which holds a Oead So, tracks and a Marmonies sub.folder with four child tracks. There is another top level folder called *nstruments which holds two sub.folders ADrum Cit and /uitarsE. The two second level folders which are sub. folders of the *nstruments folder each contain child tracks of their own. There is another top level folder A'everbsE which itself contains two reverb busses. )ny action taken on a folder will effect its entire contents. For e,ample, if in this case you were to mute the *nstruments folder, then you would automatically also mute the contents of the )coustic /uitar and Bther *nstruments folders. '()P(' does not limit you two levels of folders. Kou can have more if you like. >e warned, however, that if you do, life can get complicated+ For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) Q%

Up and Running: A REAPER User Guide v 4.59

4.#A -rac( and -rac( Para)e%er Grouping

The topic of track and parameter grouping is a huge one with an e,traordinary range of options designed to help you especially in your mi,ing and arranging. *t is based upon this principle. Kou 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 Huite simple to rather comple,, and everything in between. (verybody will have their own different ways in which '()P(':s track grouping feature can be helpful. Oet:s look at some possible e,amples. These e,amples have been selected primarily for learning purposes. Kou might or might not find the actual e,amples themselves to be useful for you. Kou 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. Kou 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. Kou might have two or more tracks that you wish to treat as a group so that they are always soled or muted together. *n a moment, we:ll work thru some e,amples. There are two main ways to create and manage your groups. This can be done either using the -rac( 9on%ro/ Pane/ or the -rac( Grouping 3a%ri4. Mere is an overview of both methods. ethod % uses the /rouping dialog bo, Ashown rightE, which can be accessed from the Track Control Panel or the i,er Control Panel. The method is as follows2 *n the TCP or CP, select the tracks whose parameters you wish to group. 'ight.click over any track number in the group and choose -rac( grouping para)e%ers from the conte,t menu Aor press 6$if% GE. =hen the /rouping dialog bo, is displayed Asee leftE specify those parameters that you want to group, then click on 9/ose. ake sure that the option -rac( grouping enab/ed on the TCP or CP menu is selected AtickedE.

Kou can use this same method later to make changes to your grouped parameter definitions. This interface might appear a little overwhelming at first. For this reason, it may be easier, especially at first, to use the second method. 3a%ri4. This is illustrated overleaf. ethod ! uses the -rac( Grouping

The grouping matri,, which can be docked can be used to manage up to 1! different groups. To display this, choose the Vie' command, then -rac( Grouping 3a%ri4, or press 9%r/ A/% G. The e,ample above shows @ust three groups on display. >y way of preparation, we can create a special pro@ect file for our e,amples. Kou can group any selection of tracks that you like2 in this e,ample, we will be working with two of three tracks enclosed within a track folder. Bf course, you do not need to place tracks in a folder in order to be able to group them.

4.#A.# E4a)p/e

5asic -rac( Grouping

*n the e,amples that follow, the optional +id%$ control is shown, but not included in any groups. =hether or not this is visible will depend on your choice of track layout. This is e,plained in Chapters %" and %%.
%. Bpen the file A// -$roug$ -$e =ig$%.RPP and immediately save it as A// -$roug$ -$e =ig$% GR*UP6.RPP

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4 - Pro:ec% Arrange)en% 5asics

!. Delect Track % ASo,E and press 9%r/ - to create a new track immediately below it. ?ame the new track 1ns%ru)en%s. -sing the techniHues e,plained earlier in this chapter, make this track into a folder. (nclose in the folder the two guitar tracks and the bou<ouki track. ake the bou<ouki the last track in the folder. Dave this file. First, you need to make sure that the track grouping is enabled, Choose the -rac( command from the main menu. *f -rac( grouping enab/ed Anear the bottomE is not ticked, click on this command to select it. *f it is already ticked, @ust click on the '()P(' title bar. atri,.

1. Choose the Vie'? -rac( Grouping 3a%ri4 command to display the /rouping

&. P. R.

Pan one guitar track about P"L left, and the other P"L right. *n /roup % on the /rouping Vo/u)e column. atri,, click in the cells representing G%r 5ody and G%r =ec( in the

Click also in the cells representing G%r 5ody and G%r =ec( in the Pan column. *n this column, click also in the Pan Reverse cell for one of the guitars. This is shown on the right. Kou will now find that the volume controls for these two tracks are grouped so that when you ad@ust the volume for either track, both volume faders will move together in the same direction. Perhaps more interesting, when you now move the pan control left or right for either of these tracks, the other track:s pan fader will move in the opposite direction. Dave the file.

#.

6.

Q.

%". ?ow click in the cells for the two guitar tracks in the )u%e and so/o columns and again save the file. The solo and mute controls for these two tracks are also linked together. )s shown above. Try them out+ %%. To temporarily override the grouping, hold 6$if% while you ad@ust the volume of one of the guitar tracks. ?otice only that one fader is ad@usted. Kou can use 6$if% to temporarily override any grouped track parameters. %!. To temporarily disable the group altogether, click where shown ArightE on the /roup % enable3disable toggle control. Kou will now find that all group controls for this group are disabled. %1. Click in this same cell again to again enable the group. Dave the file. The table that follows on the ne,t page summari<es what you might have discovered about grouping track control parameters from this e,ercise. =o%e: ) item:s group control status can be master only A E, slave only ADE or master3slave Athe defaultE. *n this e,ercise, all grouping has been of the default type, master3slave. =e:ll get to the other two options shortly. For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) Q1

Up and Running: A REAPER User Guide v 4.59

4.#A.!

-rac( Grouping 3a%ri4 5asic 9on%ro/s

Using %$e -rac( Grouping 3a%ri4 Display the Track /rouping atri,. Delect at least one parameter Asuch as PanE for each track in the group. *n i,er or Track )rrange view, ad@ust the fader for any one track in the group. *n i,er or Track )rrange view, hold 6$if% while ad@usting the single fader. *n the track row, click on the intersection cell for Pan Reverse or Vo/u)e Reverse. *n i,er view, hold 6$if% while clicking on the appropriate button Asuch as Dolo or uteE for the individual track. -se 6$if% again to restore the positive relationship. Click on the intersection cells where the reHuired parameter column meets the track rows. Click on intersection cell where the reHuired parameter column meets the row for the track that is being added. Click once, twice or three times on the appropriate intersection cell until it shows blank. *f more than one parameter is linked, do this for each parameter. Click in the group:s (nable3Disable bo,. Click on the group name.

1n order %o do %$is >

7efine %$e %rac(s in a ne' group Ad:us% a// /in(ed faders for a group Ad:us% %$e fader for on/y one %rac( in a group con%aining /in(ed faders 7efine a pan or vo/u)e re/a%ions$ip as reverse for a %rac( 'i%$in a group 9$ange an e4is%ing %ogg/e para)e%er re/a%ions$ip Esuc$ as 6o/o? 3u%e or Record Ar)F in%o a reverse one .in( )ore para)e%ers for %rac(s in an e4is%ing group Add ano%$er %rac( %o an e4is%ing group Re)ove a %rac( fro) an e4is%ing group

Enab/e&7isab/e group 6e/ec% a// %rac(s in a group

4.#A.A

-rac( Grouping 1ndica%ors

>y default, colored ribbons are used on the Track Control Panel to identify grouped track parameters Asee rightE. -nder *p%ions, Preferences, Appearance there is a sub.section -rac( 9on%ro/ Pane/s whose contents includes the option to instead use lines on the edges, or not to use any indicator at all.

4.#A.4

3as%er and 6/ave Group Re/a%ions$ips

(ach parameter that is included in a grouped relationship can take one of three states G aster3Dlave Athe defaultE, aster only, or Dlave only. The different ways in which this affects that parameter:s behavior are2 ) aster3Dlave item can control other aster3Dlave and Dlave only items, but not aster only items. *t can itself be controlled by other aster3Dlave and aster only items. ) aster only item can control other aster3Dlave and Dlave only items, but not aster only items. *t cannot be controlled by any other item ) Dlave only item cannot control any other item, but can itself be controlled by aster3Dlave items and aster only items.

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4 - Pro:ec% Arrange)en% 5asics

Don:t worry, this isn:t as complicated as it sounds. To make sense of it all, let:s work thru a couple of e,amples. *n the previous e,ercise, all items within our group had aster3Dlave status. This meant, for e,ample, that when you ad@usted the panning or the volume on either of the two guitar tracks, the eHuivalent parameter on the other guitar track would move according to the defined relationship. This happened regardless of which of the two tracks you used to make the ad@ustment. Oet:s now look at some different scenarios. E4a)p/e %. !. Bpen the file A// -$roug$ -$e =ig$% GR*UP6.RPP that you made in the last e,ample. =e are going to add the >ou<ouki volume control to this group as a slave only. ake sure the grouping matri, is displayed. Click in the >ou<ouki row of the Solume column for group % to add this to your group. *t is assigned the default status of aster3Dlave. Click in the same cell again. The display changes to a letter 3. *t now has master only status. Click again, and the display will change to 6 for slave only status Asee rightE. Bbserve this track in the track control or mi,er panel. Kou will see only one colored ribbon on the track:s volume control Ainstead of twoE. *n the TCP this will be on the right, in the CP Ami,er control panelE this will be at the bottom. This indicates its slave status. Play the song. )d@ust the volume for either of the guitar tracks, first up, then down. Bbserve that because of its slave status the volume of the bou<ouki track will be ad@usted with it. ?ow ad@ust the volume of the bou<ouki track, first up then down. >ecause of its slave only status, it cannot control any other track. The volume faders of the guitar tracks will not move as you change the volume of the bou<ouki track. ?ow, for learning purposes, let:s change the bou<ouki volume status to master only. Click on that cell several times to cycle thru the options. Dtop when it displays 3. This is the opposite of what happened at step 1. First, the colored ribbon indicator for this item is now shown only on the left instead of the right. This confirms its master only status Asee rightE. Play the song. *f you now ad@ust the volume fader on the bou<ouki track, the faders on the two guitar tracks will also move. Mowever, if you ad@ust the volume of either guitar track, the other guitar track will also move, but the bou<ouki fader will not.

1.

&.

P.

R.

#.

6.

Q.

%". Dave the file when you have finished.

4.#A.5

-rac( Grouping +indo'

(arlier we introduced the track grouping window, and said that this interface offered a different method of working with track grouping and with grouped track parameters. Oet:s now see how. The /rouping window displays all group information about the various parameters for any selected track or selection of tracks. ost commonly Aand most usefullyE it makes sense to use it with individual tracks, one track at a time. )gain, this will be more readily understood if you work thru an e,ample. E4a)p/e %. =ith the pro@ect file A// -$roug$ -$e =ig$% GR*UP6.RPP open, select the G%r 5ody track in the track control panel.

!. (ither right.click over the track number and choose -rac( Grouping Para)e%ers > from the conte,t menu, or press 6$if% G. For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) QP

Up and Running: A REAPER User Guide v 4.59

1. This causes the /rouping window for the selected track to be displayed Asee below leftE.

&. *n the TCP, select the >ou<ouki track. The display in the /rouping window changes Aabove rightE, to show the currently grouped parameters for the bou<ouki G in this case, @ust the master control on the volume track. P. *n this dialog bo,, click and select 3u%e 3as%er? 6o/o 3as%er, 3u%e 6/ave and 6o/o 6/ave. These group parameters are now also selected for this track. This is confirmed by the display in the track grouping matri,. Bne more thing we can do here is to rename the group. Click on the Rena)e button, type 1ns%ru)en%s and press En%er. Close the dialog bo, and look at the track grouping matri,. Dave this file.

R.

#. 6.

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

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4 - Pro:ec% Arrange)en% 5asics

4.#A.@ -rac( Grouping +indo' 5asic 9on%ro/s Using %$e -rac( 9on%ro/ Pane/
Delect the tracks in the Track Control Panel, press 6$if% G then select at least one parameter. Press 6$if% G, select the reHuired group number and click on Rena)e. )d@ust the fader for any one track in the group. Mold 6$if% while ad@usting the single fader. Delect the track in the Track Control Panel and press 6$if% G. Click on Reverse Vo/u)e or Reverse Pan as reHuired. Mold 6$if% while clicking on the appropriate button Asuch as Dolo or uteE for the individual track. Bpen the /rouping dialog bo, for the group and select the reHuired parameters. Double.click on the volume, pan or width value displayed in the track panel. Delect the track in the Track Control Panel and press 6$if% G. Display the drop down group list and select the reHuired group. Delect the reHuired parameters. Delect the track in the Track Control Panel and press 6$if% G -nselect all selected items e,cept Group enab/ed Press 6$if% G, select the group from the drop down list then click in the Group enab/ed bo,.

1n order %o do %$is >

7efine %$e %rac(s in a ne' group =a)e a group Ad:us% a// /in(ed faders for a group Ad:us% %$e fader for on/y one %rac( in a group con%aining /in(ed faders 7efine a pan or vo/u)e re/a%ions$ip as reverse for a %rac( 'i%$in a group 9$ange an e4is%ing %ogg/e para)e%er re/a%ions$ip Esuc$ as 6o/o? 3u%e or Record Ar)F in%o a reverse one .in( )ore para)e%ers for %rac(s in an e4is%ing group Rese% a %rac(<s vo/u)e? pan or 'id%$ %o i%s defau/% va/ue and ad:us% se%%ings for o%$er group )e)bers according/y Add ano%$er %rac( %o an e4is%ing group

Re)ove a %rac( fro) an e4is%ing group

Enab/e&7isab/e group

-ip: =hen you are playing back a song, in the course of editing you may from time to time wish to reset your S- 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 S- meter in the TCP or top of the S- in the CP. To clear all peaks, hold down the 9on%ro/ key while you do this.

4.#4

VU 3e%ers on 3u/%ic$anne/ -rac(s

=here a track has more than two channels you have the option of showing the output of all channels on the track:s S- meters in the TCP and i,er. This feature is toggled on and off for any track or track selection by right.clicking over the track panel area Afor e,ample, on the track numberE and enabling or disabling 3u/%ic$anne/ %rac(

)e%ering on the conte,t menu.

*n the e,ample shown here, a 5ig 3e%er layout has been selected for this track in the mi,er.

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Up and Running: A REAPER User Guide v 4.59

4.#5 Audio 6crubbing

Dcrubbing is a techniHue that originated in the pre.digital days when all recording was done with magnetic tape. *t helps you to move within a pro@ect, or track, or group of tracks, to audition or locate a particular section. Dcrubbing is most commonly used in '()P(' when your pro@ect is not playing, but you can over.ride this default setting. To scrub a portion of a song, simply position your mouse over the triangle that is located on the top of the edit cursor, as shown on the right. This causes the mouse pointer to change to a white hand. Kou can then click and drag in either direction. KouIll probably find when scrubbing that you will want to <oom in Huite closely on your pro@ect. Kou can set your scrub preferences in the Audio? P/aybac( page of the *p%ions? Preferences window, as shown below. ?otice in particular that2 Kou can enable or disable scrubbing as the default behavior. Molding the 6$if% key down while dragging the edit cursor will temporarily over ride this setting. This means that even with 6crub&:og source )a%eria/ not selected Aas shown aboveE, you can still use the 6$if% key to scrub when you wish. Kou can also choose to be able to engage scrub mode to over.ride 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. Kou can limit the scrub rate AspeedE to no more than normal playback speed. This makes it easier to identify the audio material when scrubbing. >y default, holding down the 9%r/ key while scrubbing will enable og mode. *n this mode scrubbing will be much slower. This can help when looking for very short glitches, for e,ample when <oomed in close.

?otice also ArightE that if scrubbing is enabled and you have a three button mouse, you can use the ouse odifiers arrange view middle button conte,t to determine @og3scrub behavior.

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5 - 3anaging -rac( and 1%e) F8 5 3anaging -rac( and 1%e) F8

=e have already covered the basic techniHues involved in using effects ADirect ; and SDTE with '()P(' tracks. =e are now going to look at some of the options available to help manage and use your F; more effectively. =e:ll be looking in more detail at how you use some of the more important individual effects later AChapter %&E2 in this section we:re mainly concerned with the broader issues of managing and organising plug.ins.

5.#

Grouping F8

F; can be grouped for your convenience in any way you wish. For e,ample, if you use chorus, delay and reverb a lot, you might wish to create one group called Chorus3Delay and another called 'everb. *f there is a set of plug.ins Afor e,ample, >ootsyE that you use freHuently, you can create a separate group for them. Kou can create as many groups as you wish, and the same plug.in can be placed in multiple groups. For e,ample, you could place the >ootsy (picSerb plug.in both in a group called 'everb and in a group called >ootsy.

-o crea%e a F8 group: -se the command Vie'? F8 5ro'ser or the keyboard shortcut 6$if% F to open the F; browser window. 'ight click over the te,t 3y Fo/ders where shown Asee aboveE and choose 9rea%e ne' fo/der. Type a name, then press En%er. -o add F8 %o a group: Delect the category A// P/ug-ins in the left hand panel of the F; window. This will ensure that all F; are available to you. Drag and drop the reHuired F; from the right hand panel to the folder where you want the F; to be listed. To drag multiple F;, use 9%r/ with left mouse click to build up a selection, then drag them all together. -o c$ange %$e order in '$ic$ F8 groups are disp/ayed: 'ight click on the name of the folder to be moved. From the conte,t menu choose ove to top, ove up, ove down, or ove to bottom. -o disp/ay and se/ec% fro) a group *n the left panel of the F; window, click on the name of any F; group to display its contents in the larger right hand panel. For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) QQ

Up and Running: A REAPER User Guide v 4.59

Double click on any F; name within that group Alisted in the right hand panelE to add it to the current track. -ip: *f you leave the F8 5ro'ser open, you can add any F; to any track simply dragging and dropping to the reHuired track in the Track Control Panel ATCPE or i,er Control Panel A CPE. -ip: Kou can add F; from an e,isting folder to any track directly from the TCP or CP. 'ight.click over the F; button and choose Add F8 from the menu, then select the folder and finally the F;.

5.!

P/ug-ins 6e%%ings

'()P(':s Plug.ins settings and preferences are e,plained and discussed in Chapter %Q. Kou can access this settings page directly from any track:s F; Chain window by choosing the command *p%ions? F8 P/ugins se%%ings > from the menu.

5.A

5ac(ing Up F8 9$ains and F8 Prese%s

F; Chains and plug.in presets can be backed up and restored using the e,port3import configuration buttons in '()P(':s Preferences A/eneral settingsE. Dee Chapter %Q for more information about importing and e,porting configuration settings.

5.4

Fi/%ering -rac( F8

>y entering a te,t string in the Fi/%er /is% te,t bo, in the bottom left corner of the Add F8 window, you can display a list of those F; which match your criteria. >efore doing this, you should select either A// P/ugins from the list of plugin folders, or any particular folder if you wish to restrict your search. *n the e,ample shown here, we have applied the te,t string lim as a filter, in order to see what limiters we have available. The 9/ear Fi/%er button can be used to remove the filter and restore all plug.ins to view. Kou also have two options Aon the *p%ions menuE which if enabled will ensure that your filters are automatically cleared for you. These are Au%o c/ear searc$ fie/d on fo/der c$ange and Au%o c/ear searc$ fie/d on c/ose. This latter option refers to closing the F; browser window, not closing '()P('. '()P(' will remember your previous filter. Kou can access it from the filter drop down list, by clicking on the down pointing arrow located to the right of the Filter list bo,, @ust before the Clear filtrer button.

-nlock your inner '()P(' with REAPER 4 Un/eas$ed2 %""

5 - 3anaging -rac( and 1%e) F8

5.5 6$o'ing V6- Fo/ders

*f you use sub.folders to organi<e effects within a =indows SDT Plug.ins folder then you can display and use this folder structure within '()P(':s F; >rowser A)dd F; windowE. This feature is toggled on and off using the *p%ions? 6$o' V6- Fo/ders command. Kou can then select any folder listed in the left pane to display its contents in the right pane of the F; browser. Kou can right click over any displayed folder name Asee rightE to display a menu of options which includes 6$o' fu// pa%$s %o V6-s and 1nc/ude p/ug-ins found in sub-fo/ders. )s in =indows (,plorer, you can collapse or display the various levels of subfolders. '()P(' will remember your settings so that each time the browser is opened it will recall the layout that was last used before it was closed.

5.@

9opying -rac( F8

)ny track F; can be copied from one track to any other track, or tracks. =hen a track F; plug.in is copied in this way, the settings and parameter values are also copied with it. Kou can use standard =indows techniHues like 9%r/ 9 and 9%r/ V if you like, but the simplest way is to simply select the reHuired plug.in the F; window of your source track and use the mouse to drag and drop to the F; button of any other track. This can be done from either the TCP Atrack control panelE or the CP Ami,er control panelE.

E4a)p/e
For this e,ample, open the file A// -$roug$ -$e =ig$% Fo/der.rpp that you saved earlier in this section. *f you did not make this file, use any other file which has more than one track. %. Click on the F8 5u%%on for the track G%r =ec( to open the track:s F; =indow. !. *nsert the V6- ReaEPE9oc(osF plug.in into this window. 1. Mover the mouse over the te,t SDT 'ea(F in the plug.in window. Press and hold down the left mouse button and, holding it down, drag the mouse to point on the track control area of the G%r 5ody track Asee rightE. &. 'elease the mouse. The ReaEP plug.in will now have been copied into this track. Kou can of course repeat this as often as reHuired to copy the same plug.in to other tracks. =hen you copy an F; in this way, any settings and parameter values that you have set will be copied with it. To copy more than one plug.in at the same time from one track to another, use this seHuence2 %. Click on the first plug.in to be selected. Mold the 9%r/ key down while clicking in turn on each additional plug.in that you want copied. )lternatively, if you want to copy all F; in a chain, click on the first item, then hold 6$if% while you click on the last item in the chain. !. -se the method described above to drag and drop on or near the F; button of the track to which you wish to copy your plug.ins.

5.B

F8 Puic( 7isp/ay

Track F; are listed on a track:s F; button right click menu Asee rightE. Kou can open the window for any of these F; direct from this menu.

5.C

3oving -rac( F8

To move Arather than copyE a plug.in from one track to another, simply hold down the A/% key while you drag and drop.
-ip: Movering your mouse over any trackIs F8 button causes a tooltip to be displayed, listing the plug.ins present in that trackIs F; bin. *t displays this information even if the F; chain is set to bypass.

For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) %"%

Up and Running: A REAPER User Guide v 4.59

5.9 9$anging %$e 7efau/% F8 =a)e

To change the default name of any Direct ; or SDT F; Abut not $DE plug.in2 Display the F; >rowser =indow AVie'? F8 5ro'ser or 6$if% FE. 'ight Click over the plug.in to be renamed. Choose Rena)e F8 from the menu. Type the new name and press En%er.

5.#"

Rena)ing -rac( F8 1ns%ances

Kou can rename individual F; Plug.in instances so that your custom name is used for that F; in both Track Siew and in the i,er. Typically this can be used to describe the purpose of the F;. For e,ample, you might want to rename an instance of 'ea(F that has been added to a vocal as 7)dd warmth8 or 7 ore presence8 and so on. To do this, simply select the plug.in and press F!, or follow this seHuence2 'ight click over the F; *tem in either the F; Chain window, or the F; >in in the i,er view. From the menu, choose Rena)e F8 ins%ance. Type your custom name. Press En%er. ?ote that your custom name will only be applied to that single instance of the F; Plug.in in that one track. Bther instances will not be affected.

5.##

Using 7efau/% F8 Para)e%er 6e%%ings

Kou can specify that any set of F; parameter settings is to be used as a default whenever that F; is applied to any track or item. =hen you have your settings right, click on the small J button and choose 6ave prese% as defau/% from the menu. Kou will need to enter a name for the preset. The use of presets is e,plained more fully in Chapter%&.

5.#!

Per 1%e) F8

'()P(' allows you to apply F; not only to individual tracks but also to individual media items within a track. Duppose, for e,ample, that you wish to add an effect Asuch as reverb or delayE to @ust part of a track. Kou can split the track media into several items and apply the effect only to those items where it is wanted. *f you have selected the option to display the F8 and =o F8 item icons A*p%ions? Preferences? Appearance? 3ediaE you can click on any item:s F8 button to open its F; window. This topic will be e,plained in more detail in Chapter R. Btherwise you can select a media item and use the default keyboard shortcut 6$if% E. To add a plug.in to a media item2 Delect the edia *tem. Click on the F8 button or press 6$if% E to display the item F; Chain. The Add F8 %o 1%e) window will be displayed. Double.click on the Plug.*n. )d@ust the parameters. then close the F; =indow. *f you find this method too 7fussy8 then try this. Kou can simply drag and drop any F; from the F8 5ro'ser window straight on to any media item. Kou can drop the F; anywhere on the item. =hen F; have been added to an item, then the F; names will be displayed in arrange view together with the item name Asee aboveE. -ip: Kou can also add new F; to an item, or open an e,isting effect for editing, by right.clicking over the item:s F; button to display a conte,t menu Asee aboveE.

-nlock your inner '()P(' with REAPER 4 Un/eas$ed2 %"!

5 - 3anaging -rac( and 1%e) F8

3anaging 1%e) F8 O 6u))ary -ab/e
-o do %$is > Add a p/ug-in %o an i%e)<s F8 c$ain *pen and vie' an i%e)Ns F8 9$ain 7e/e%e an i%e)Ns F8 9$ain a/%oge%$er 0ou need %o do %$is > Drag and drop from F; browser window on to the item. Delect the item, press 6$if% E. Delect the first item in the chain then hold Dhift while selecting the last item. This will cause all items in the F; chain to be selected. Then press 7e/e%e. Delect the items, then drag and drop the F; from one item to another. *f the F8 button is visible, @ust drag and drop from the F; button on to the destination item. Dhown here are the settings which determine if and how the various buttons are displayed for individual media items. =e:ll return to this in detail in Chapter R, but for now @ust notice that available item icons AbuttonsE include its lock and mute status, its F; chain, its notes and properties. *f you enable the option 7ra' /abe/s above %$e i%e) ra%$er %$an 'i%$in %$e i%e) then the buttons will be displayed Awith the item nameE above the item. Kou can, however, also specify as an e,ception that +$en )edia i%e) $eig$% is /ess %$an /abe/ $eig$% the label should be moved to inside the media item. *f you disable these options, the labels Aif displayedE will always be superimposed on the media item itself.

9opy an i%e)Ns F8 9$ain %o ano%$er i%e)

5.#A

Using 1%e) F8 'i%$ 3u/%ip/e -a(es

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

*f you have enabled the options 7isp/ay )edia i%e) %a(e na)e and 7ra' /abe/s above %$e i%e) Aboth under )ppearance, edia, see aboveE, then any F; chain for the currently selected take will be included in the information displayed. *n the e,ample shown on the right, Take ! is currently active2 the F; names displayed above the item are therefore the F; assigned to Take !.
*f you wish, you can insert the same F; into each take and apply different parameter settings for each one.

For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) %"1

Up and Running: A REAPER User Guide v 4.59

5.#4 *p%i)iDing F8 Perfor)ance

Dome plug.ins can be Huite greedy in their use of CP-. This especially tends to be the case with delay based F;, such as Delay, Chorus, and especially 'everb. '()P(' provides a number of options which you can use to minimi<e the drain placed on your computer resources by your plug.ins. These options can be found in the REAPER Preferences window A9%r/ PE under the heading Audio? 5uffering. This window is shown and discussed further in Chapter %Q. There is no 7one si<e fits all8 optimal group of settings. =hat is best for you depends on various factors, including which processorAsE you are using and which plug.ins. Mowever it shouldnIt be too difficult to e,periment. ?ote in particular the following2 Try using the default settings for 3edia 5uffering at first. Kou can ad@ust them later. A//o' /ive F8 )u/%iprocessing. Try turning this on if your PC has multiprocessors. An%icipa%ive F8 processing. This can reduce CP- usage, but too aggressive a setting can cause pops and crackles on playback. *f working with -)D.%,for best results, both Dynchronous F; and -)D.% Dynchronous modes should be enabled. )nticipative F; should be disabled. -)D.!, however, is compatible with )nticipative F; mode and this is recommended for best low latency performance.. *p%i)iDe buffering for /o' /a%ency $ard'are. *f you find that any particular plug.in or% F; chain gives you problems with media buffering or anticipative F; processing, you can disable either or both for individual tracks using the -rac( Perfor)ance *p%ions on the Track Control Panel right.click menu.

5.#5

F8 =o%es and 9o))en%s

The '()P(' F; Chain window includes an area for any 9o))en%s Aor notesE that you may wish to make G see e,ample below. Click on the > button @ust above the bypass tick bo, to add comments. The notes are linked to the individual instance of the specific plug.in. *n the e,ample shown, the comment is only displayed when the & band (F is selected for Track !, the So, Oead. Kou may add notes for all or any of a track:s F; if you wish, but only one comment at a time will be displayed in the track:s F; window. Kou can open the comments in a separate window of their own by clicking on that > button . Kou may have as many as you wish of these comment windows open at any time.

5.#@

+e%&7ry 3i4 and 5ypass

The wet3dry mi, control was mentioned in Chapter !. Click and hold your mouse over the small rotary fader near the top right corner of the plug.in window and you will see the wet3dry balance for that plug.in displayed as te,t Aabove rightE. )t %""L wet Athe defaultE the plug.in is applied to the track in the way that you would normally e,pect. Click and drag the mouse on this to ad@ust this value to create a mi, of the dry signal Athe audio stream with no effect appliedE and the wet signal Athe audio stream with the effect fully applied. For e,ample, set to %""L, this mi, is fully wet. )t "L it is fully dry Aeffectively sounding the same as bypassE. )t P"L the dry and wet signals are mi,ed together in eHual amount. ?otice also that the small check bo, to the immediate right of this control has a bypass function. Oeave it ticked as shown and the effect Aas determined by its various parameter settings including the wet3dry mi, controlE will be applied to the track. -ntick this bo, and the effect is bypassed. -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 %"&

5 - 3anaging -rac( and 1%e) F8

5.#B P/ug-in 7e/ay 9o)pensa%ion

>y default, '()P(' uses plug.in delay compensation APDCE to ensure that audio remains time aligned. *t does this by ad@usting for any latency caused by any plug.in, such as can arise with some convolution reverb plug.ins for e,ample. The latency for any track is displayed in the bottom left corner of that track:s F; chain window. For e,ample, a display of !PR3P%! spls would mean that one of the F; reHuires a latency of !PR samples2 '()P(' rounds this up to a number of blocks based on your buffer si<e. )ll other tracks will be delayed to match the track with the greatest latency. *f you encounter circumstances in which PDC is creating problems Afor e,amples, dropouts or e,cessive latencyE then it can be disabled for any plug.in from the pin connector button Ashown here labelled 7! in ! out8E conte,t menu. ?ote too that PDC is disabled when feedback routing is employed.

5.#C

*pening a Fi/e in Recovery 3ode

)ny computer program will crash given the right Aor wrong4E circumstances. '()P(' is very stable, but nevertheless there may be occasions when you e,perience a crash. This can be caused by a problem with some third party SDT, SDTi, D; or D;i plug.in. *f this happens, you should enable the option to *pen 'i%$ F8 off/ine Erecovery )odeF when re.opening the file from the Fi/e? *pen pro:ec% dialog bo, Asee rightE. This will open the file with all F; set offline. >y reintroducing them online one at a time, you should be able to identify which is the plug.in that is causing the problem. To then fi, the problem you should remove this plug.in and replace it with another of eHuivalent functionality. )nother method is to hold down 9%r/ 6$if% while you open a file from the Fi/e? Recen% pro:ec%s menu.

5.#9

6%e) Rendering

Dtem 'endering is a techniHue that can be applied to ease your CP- load, to prevent it from becoming overstressed. The item is rendered to a new track, whilst the original track remains but is automatically muted and its F; are bypassed. *f you later wish to change the F; in a stem rendered track, you can delete the rendered track, unmute the original, and make your changes. This is how you make a stem track2 %. *n the -rac( 9on%ro/ Pane/ area, right.click over the track number. !. From the menu, choose Render&freeDe %rac(s, then one of the Render %rac(s %o > s%e) %rac(s Eand )u%e origina/sF commands. Kour choices are )ono, s%ereo or )u/%ic$anne/. The first of these commands will render to a mono item Aas shown hereE. The second will always produce a stereo item. The number of channels produced when multichannel is selected will be determined by the number of channels that you have defined for the track. >y default, '()P(' tracks comprise @ust ! channels2 in this case, both the stereo and multichannel options will produce the same result. )s well as track F;, any audio or *D* received from sends from other tracks is included in the rendered material. Dtem rendering has a similar effect to free<ing tracks Asee section after ne,tE. Bne main difference is that Aunlike free<ingE stem rendering leaves both the rendered and the unrendered tracks in the pro@ect. *f you only wish to render the track F; without keeping both tracks in the pro@ect, you might wish to consider using one of the Render&freeDe free<e actions instead. These are covered in the couple of pages that follow this one. Dtem rendering is also available with an e,tensive range of options Asuch as output format and HualityE using the Fi/e? Render... command. This opens the Render %o Fi/e dialog bo,. Dee Chapter %6 for details. For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) %"P

Up and Running: A REAPER User Guide v 4.59

5.!" Rendering a Group of -rac(s %o a 6ing/e -rac(

This e,ample uses the Render %o Fi/e dialog bo,, which is e,plained in detail in Chapter %6. Kou can apply stem rendering to a group of tracks, so that they will be mi,ed down to a single audio file. To do this2 %. Put the reHuired tracks in a folder. !. *n the Track Control Panel, select the folder. ?o other track should be selected. 1. Choose the Fi/e? Render command. &. ake sure your selected options include 6%e)s Ese/ec%ed %rac(sF and Channels 6%ereo or 3ono Aas you wishE as shown on the right. *f you wish, also select the option to Add i%e)s %o ne' %rac(s in pro:ec% '$en finis$ed. P. Delect your output format Ae.g. =)SE and format specifications Ae.g. !& bitE. R. Click on Render # fi/e... *n the e,ample shown below, the output of the /uitars folder has been rendered to a single stereo track. This has been added to the file and the folder has been muted. =hen working with multichannel tracks you can also render your output in multichannel format. Kou will need to select the reHuired number of channels from the Channels drop down list in the Render %o Fi/e dialog bo,. Kou:ll learn more about file rendering, including multichannel rendering, in Chapter %6.

5.!#

FreeDing and UnfreeDing -rac(s

The FreeDe %rac(s actions Afrom the Track right click menu Render&freeDe %rac(s commandE are used to free<e any track in place, replacing its contents with a single rendered audio item. The first of the free<e actions shown ArightE will produce a )ono audio item, the second s%ereo and the third )u/%ic$anne/ Aaccording to the number of track channelsE. *f more than one track is selected, each will be rendered separately. Bn line F; are applied to the rendered item, as is the content of any signals sent to the rendered channels from other tracks. =here these include *D* data or items, they will be rendered as audio. >oth on line F; and receives are then removed from the track. ?ote that a *D* item with no synth attached to it will be rendered as silence. =here a synth is present, it is the output of the synth that will be rendered. =hen a track has already been fro<en, UnfreeDe %rac(s will appear on the above menu as an action that can be used to restore the track to its state at the point in time that it was fro<en. >oth the F; chain and any receives will be restored. Bther points to note are2 ) track can have further F; and receives added to it after it has been fro<en. *n this case, if you then -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 %"R

5 - 3anaging -rac( and 1%e) F8

free<e the track again, these F; Aalong with audio and or *D* material from the new receivesE will be rendered together with the e,isting fro<en material to another new audio item. (ach unfree<e action will remove the previous free<e on that track and restore it to its state at the time of that free<e action. Thus, if a track has been fro<en, had more effects added and been fro<en again, then you will need to unfree<e it twice if you wish to restore it its state immediately before first being fro<en.

Using %$e -rac( 3anager

Free<ing can also be handled using the -rac( 3anager. Choose -rac( 3anager from '()P(':s main Vie' menu. Kou can select any trackAsE from the list Ain the e,ample shown, tracks 1 and & are selectedE then click on the FreeDe button for a menu of free<e choices Amono, stereo or multichannelE. The number of times any track has been fro<en Aup to a ma,imum of 6E will be shown in the Free<e column. *n this e,ample ArightE, tracks 1 and & have now both been fro<en once. The UnfreeDe command will be added to the Free<e menu when that menu is displayed with a fro<en track selected. oreover, this menu will also include an option to display the free<e details for that track Asee aboveE. Kou can read more about the Track anager in Chapter %%.

6e/ec%ed F8 FreeDe

Bther options, available from a track:s F; chain window, are to free<e a track up to its last on.line or selected F;, as you wish . see above. *n this case, only the first two F; A'eaComp and 'ea(FE have been selected. The action FreeDe %rac( %o s%ereo? up %o /as% se/ec%ed F8 will cause the compression and (F to be fro<en on to the track. These two F; will be removed from the track:s F; chain. The third A$DE effect will not be rendered to the new audio item. *t will remain, and can be further ad@usted, or removed altogether as the user wishes. Bne useful action Aaccessible from '()P(':s )ction Oist windowE is Vie': 6$o' %rac( freeDe de%ai/s. This can be used to display free<e history and details for any fro<en track. Chapter %1 e,plains in detail more about actions and about how you can assign them to toolbars or to your own shortcut keys.

For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) %"#

Up and Running: A REAPER User Guide v 4.59

5.!! Audio 6igna/ F/o' 9$ar%: -rac(s and Fo/ders

The two diagrams that follow Ain this section and the ne,tE illustrate how audio signals flow thru '()P(':s tracks to the master and to your output devices. Dome of the items shown in these charts Ae.g. *tem3Take settingsE have not yet been discussed in this -ser /uide. They will be covered later, mostly in Chapter R.

=o%es: %. The track mute button is shown more than once Anear the beginning and near the end of the chainE. This is because it does not only mute at the beginning Aso that for e,ample, all media items are effectively mutedE, it also mutes at the end Aso that, for e,ample, a synth in the track F; chain that is fed *D* data via a receive from another track is also mutedE. !. *f track mute and track solo buttons are both enabled, then solo overrides the mute. 1. *f the aster is soloed, direct outputs to hardware from tracks3folders will not be processed.

-nlock your inner '()P(' with REAPER 4 Un/eas$ed2 %"6

5 - 3anaging -rac( and 1%e) F8

5.!A Audio 6igna/ F/o' 9$ar%: 3as%er -rac(
aster Track.

This diagram illustrates specifically the audio flow for the

5.!4

,ard'are *u%pu% F8 3oni%oring

To open the F8: 3oni%oring window you can2 Choose 3oni%oring F8 > from the conte,t menu of any pro@ect tab, or Click on the 3oni%or F8 button at the end of the pro@ect tab bar Aif you are using pro@ect tabsE, or -se the Vie'? 3oni%oring F8 command from the main menu, or Mold 6$if% while clicking on the F; button of the aster track. This F; window is the same as any track F; window. Kou can specify any F; that you want to put on your hardware outputs. These do not show up in renders, do not affect the metronome and are not stored in the pro@ect file. (,amples when you might use this feature might include2 =hen running analysis F;. Compensating for the acoustic characteristics Aperhaps with (F or reverbE of a particular room. ?otice that2 Kou can right.click on the onitor F; button to access any plug.in assigned to output monitoring, or to add more F;. Click over the right hand end of this button to toggle bypass status. The button turns red when bypassed. =ithin the F8:3oni%oring window, click on the Para) button then .earn to assign control of any selected F; parameter to an e,ternal control device.

For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) %"Q

Up and Running: A REAPER User Guide v 4.59

5.!5 Ver%ica/&,oriDon%a/ F8 -ree 7isp/ay

The display of the F; tree and items can be toggled between vertical and hori<ontal layout by double.clicking on the boundary between the two sections, on the double.headed arrow mouse cursor as shown below. Sertical layout

Mori<ontal layout

5.!@

-rac( -e)p/a%es Revisi%ed

Don:t forget that as well as saving F; chains by themselves, you can include them with other track settings Asuch as name, pan settings, volume levels, etc.E into track templates. 'emember too that you can use the -rac(? 6ave %rac(s as %e)p/a%e command to save a whole selection of several tracks into a single track template. Dee also Chapter 1.

5.!B

ReaEffec%s User Guide 6upp/e)en%

Kou will find many e,amples in this -ser /uide of the use of various CBCCBD effects, especially in Chapter %&. *n addition, a free PDF 'eaper CBCCBD (ffects Dummary guide can be downloaded from the following -'O2 $%%p:&&'''.coc(os.co)&Kg/aDfo/(&ReaEffec%sGuide.pdf ?ote that this link is case sensitive.

-nlock your inner '()P(' with REAPER 4 Un/eas$ed2 %%"

@ - Edi%ing -rac(s and 1%e)s @

@.#

Edi%ing -rac(s and 1%e)s

Using an E4%erna/ Edi%or

Kou can specify up to two third party programs Asuch as )dobe )udition, )udacity, =avosaur or Dound ForgeE which you wish to integrate with '()P(' for editing your media items. To do this2 %. Choose the *p%ions? Preferences command, then E4%erna/ Edi%ors. !. Click on the Add button 1. -se the 5ro'se buttons Ashown rightE to identify and select your preferred wave editor or editors. &. Click on *H, then *H to close the Preferences window. ?otice that you can specify different editors for different file types, e.g. =)S, P1, idi. -o use your e4%erna/ 'ave edi%or: There are two main ways you can access your preferred e,ternal editing program from within '()P('2 Delect the media item and press 9%r/ A/% E. =ithin a '()P(' pro@ect, right click over the media item that you wish to edit. From the menu, choose either *pen 1%e)s in edi%or then, from the sub.menu, select either the option to open the item itself or to open a copy of the item. -nlike versions of '()P(' earlier than &.", by default double.clicking on an audio media item will no longer open it with your primary editor. This behavior can be changed thru the Preferences, Edi%ing 5e$avior? 3ouse 3odifiers page if you wish. This topic is covered in Chapter %1.

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

@.!

Edi%ing 1%e)s in REAPER

The topic of editing items in '()P(' is a big one. '()P(' features a comprehensive range of editing techniHues for managing the items within your pro@ects. *f you have worked with other audio software, you might find '()P(':s ways a little strange at first. The first Huestion you might have when you look at the screen is, 7=here are all the editing tools48 The answer is J there arenIt any+ )t least, there arenIt many the first time that you use '()P('+ >ut as you are about to see, that doesnIt mean that '()P(' isnIt up to the @ob. Kou @ust get the wave editing features that you need, but without the screen clutter. =hat:s more, you can create and add as many editing tools of your own as you like. =e:ll get to this in Chapter %1. There are some basic concepts that you need to understand about '()P('Is design philosophy and structure before learning individual editing techniHues. For e,ample2 For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) %%%

Up and Running: A REAPER User Guide v 4.59

*tem (diting in '()P(' is non.destructive. (dits made to items are uniHue per item and do not alter the content of the source file. Kou can e,periment knowing that your original recorded files are safe. *tem (diting in '()P(' basically consists of selecting an item, or a portion of an item ArangeE, then doing something to it G such as splitting it, deleting it, copying it or moving it. Dometimes a number of steps might be reHuired to achieve an editing task. *f so, you can assign a single keyboard shortcut to the entire seHuence. $ust how to do this is covered in Chapter %1. *f you really miss having editing tools, then fear not. Kou can Huite easily create your own tools and toolbars for this Aor any otherE purpose. This topic is covered in Chapter %1. To a very large e,tent, you can customi<e '()P('Is editing behavior thru the Edi%ing settings within your *p%ions? Preferences window. =e:ll get to this later in this section. *n a moment, we:ll be working thru '()P(':s many editing facilities and features. >efore we do, don:t forget that when you are editing you have available not only the Edi%, Undo command but also the Undo ,is%ory window Acovered in Chapter !E. 'emember that if you get into trouble, this -ndo Mistory window can be used to restore a pro@ect file to any earlier state. Mow to enable these various options is e,plained in Chapter !.

@.A

REAPER<s 6)ar% Edi%ing

'()P(':s smart editing features enable you to do many of the most commonly reHuired editing tasks Huickly and easily. *n this section, we will look at smart editing techniHues for moving, copying and deleting media items, selections of media items and parts of media items. To use them, make sure that the option .oop Poin%s .in(ed %o -i)e 6e/ec%ion is disab/ed. The table below shows '()P(':s default behavior for various mouse actions. Kou can change any of these by selecting the conte,t 3edia i%e) and .ef% drag on the 3ouse 3odifiers page of your Preferences. -o do %$is 'i%$ %$e )ouse > 3ove i%e) or se/ec%ion of i%e)s ignoring %i)e se/ec%ion 3ove i%e) or se/ec%ion of i%e)s ignoring snap and %i)e se/ec%ion 9opy i%e) or se/ec%ion of i%e)s 9opy i%e) or se/ec%ion of i%e)s ignoring snap 3ove i%e) con%en%s E'i%$in i%e)F Ad:us% i%e) pi%c$ fine Render i%e) %o ne' fi/e 9opy i%e)? poo/ing 3171 source da%a Dhown right is an e,ample of how you might change any of these. *n this e,ample, we are in the process of changing the default click and drag behavior from 3ove i%e) ignoring %i)e se/ec%ion to 3ove i%e): :us% )ove. This will enable us to move any selected area of an item @ust by dragging and dropping it. Kou:ll find more of that in Chapter %1. -ip: *f you accidentally move an item it can be restored to its original position by choosing 1%e) processing then 3ove i%e) %o source preferred posi%ion from the media item right.click conte,t menu. 0ou need %o do %$is > Drag and drop. 6$if% drag and drop. 9%r/ drag and drop. 6$if% and 9%r/ with drag and drop. A/% drag and drop. 6$if% and A/% drag and drop. 9%r/ and A/% drag and drop. 6$if% 9%r/ and A/% drag and drop.

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@ - Edi%ing -rac(s and 1%e)s

@.4 6%andard +indo's Edi%ing

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

6e/ec% 1%e)s
Delect an item by clicking on the item. Delect multiple items by using 9%r/ 9/ic(. Delect ad@acent items by using 6$if% 9/ic(. Delect groups of items by right.clicking and dragging a marHuee around the items. *t is not necessary to marHuee the whole of an item to select it Asee above rightE. The marHuee feature can, however, be made to behave differently by using any of a number of modifier key options Asee 3arIuee 3odifiers table belowE. These techniHues can be used in '()P(' in several conte,ts G for e,ample, 9%r/ 9/ic( and 3arIuee can also both be used to make multiple note selections in the *D* (ditor Asee Chapter %!E.

6p/i% 1%e)s
Dplitting items is used in several '()P(' editing functions. >e sure to familiarise yourself with the following2 *f no item is selected, pressing 6 will do nothing. *f itemAsE are selected, pressing 6 will split all selected itemAsE at the edit cursor position. *f there is a time selection current, pressing 6$if% 6 will split all selected *temAsE at the beginning and end of the time selection. *f an item with any F; is split, then both the resulting items will contain the F;. This can be changed in your *p%ions? Preferences? 3edia page by disabling the option 7up/ica%e %a(e F8 '$en sp/i%%ing i%e)s.

,ea/ 6p/i% 1%e)s

To reconnect media item that have previously been split2 Delect the media items in the track. 'ight click over any media item within the selection and from the menu choose ,ea/ sp/i%s in i%e)s. Meal is different from /lue. *n short, heal restores items to their original state, whilst glue renders them to a new file. /lue will be discussed later in this chapter. ?ote also that if a number of previously split items each containing an F; chain are healed, then only the F; Chain of the first of the items is retained.

9u%&9opy 1%e)s
)part from smart editing Asee previous sectionE there are other ways to copy or cut items in '()P('. These are based on standard windows techniHues -se the keyboard shortcut 9%r/ 9 to copy or 9%r/ 8 to cut any selected itemAsE in its entirety. ?ote that if a time selection is current, 6$if% 9%r/ 936$if% 9%r/ 8 will copy3cut only that current time selection, not the whole item. Kou can use the )ctions (ditor AChapter %1E to change this behavior if you wish. 'ight.click on an item and select 9opy i%e)s or 9u% i%e)s from the menu. Delect an item, then select Edi%? 9opy i%e)s&%rac(s&enve/ope poin%s ignoring %i)e se/ec%ion or 9u% i%e)s&%rac(s&enve/ope poin%s ignoring %i)e se/ec%ion from the menu. =o%e: 9opying 3171 1%e)s in Arrange Vie' 2 Dpecial considerations that need to be taken into account when you are copying *D* Arather than audioE items in arrange view. These are e,plained in Chapter %!.

Pas%e 1%e)s
-se 9%r/ V to paste an item at the cursor position. *f a track is selected, the item will be pasted into the selected track. *f no track is selected, the item will be pasted into the last track that was selected in the TCP. *f you give focus to the main arrange view window before pasting, a new track will be created. Delect a track and use Edi%? Pas%e to paste the item at the current edit cursor position.

9opy or 9u% Par% of an 1%e)

For those times when you prefer not to use smart editing you can use the =indows clipboard. Delect the item then make the time selection. To copy or cut the selected area, first make sure that focus is on the main arrange view window, then to copy use Edi%? 9opy i%e)s&%rac(s&enve/ope poin%s 'i%$in %i)e se/ec%ion or right.click on the item and select 9opy se/ec%ed area of i%e)s from the menu, or press 9%r/ 9, or For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) %%1

Up and Running: A REAPER User Guide v 4.59

To cut the selected area, use 9u% i%e)s&%rac(s&enve/ope poin%s 'i%$in %i)e se/ec%ion or right.click on the selected area and select 9u% se/ec%ed area of i%e)s from the menu, or press 9%r/ 8. Delect a track in the TCP, position the cursor in arrange view and choose Edi%? Pas%e from the menu.

7e/e%e 1%e)s
Delete completely removes the item from the track. ?ote that it does not remove the media file from the pro@ect directory. There are several ways to delete items. =here an item has several takes, any of these actions will delete all takes, not @ust the active one. Dee Chapter # for how to deal with individual takes. -se the 7e/e%e key to delete selected item3s. 'ight.click on a selected item and select Re)ove i%e)s. This will delete any selected items. Delect 1%e)? Re)ove i%e)s from the main menu. 6$o' *ver/apping 1%e)s 1n .anes Kou might wish to place several overlapping media items on one track. *f so, consider whether or not you wish to crossfade them. Crossfades can be applied manually, or automatically, by enabling the )uto Crossfade tool on the toolbar. Crossfade behavior can also be managed using the Crossfade (ditor which will be e,amined later in this chapter. Kou might also wish to enable 6$o' over/apping )edia i%e)s in /anes on the *p%ions menu. The ma,imum number of lanes to be used can be set on the Appearance page of your Preferences.

3ove 1%e)s: 6pecia/

Dhortcut keys e,ist for moving items in ways that might be difficult to control with the mouse. For e,ample2 7efau/% 6$or%cu% Hey =u) Pad # =u) Pad A =u) Pad 4 =u) Pad @ =u) Pad C =u) Pad ! Purpose Dlide item a little to the left Dlide 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

=o%e: This feature is often referred to as 7nudge8. =ith '()P(', nudging is relative to the screen display. For e,ample, if you are <oomed 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 <oomed out to the full pro@ect. -ip: Double click on a trackIs inde, number in the Track Control Panel to select all the items in that track.

3arIuee 3odifiers
odifier keys e,ist for changing the marHuee behavior when you right.click and drag. >y default, these are22 3odifier HeyEsF Rig$%-c/ic( drag Eno )odifierF 6$if% Rig$% c/ic(-drag 9%r/ Rig$% c/ic(-drag A/% Rig$% c/ic(-drag 6$if% A/% Rig$% c/ic(drag Purpose arHuee select items. arHuee add to item selection. arHuee toggle item selection arHuee select items and time arHuee select items and time ignoring snap.

Kou can change any of these modifiers and3or add others of your own choosing, using the 3ouse 3odifiers page of your '()P(' Preferences. ore information about how to do this is given in Chapter %1.

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@ - Edi%ing -rac(s and 1%e)s

@.5 Edi%ing 5e$avior Preferences

Familiarise yourself with '()P('Is main editing behavior preferences and how they work. *f you do, you will find life getting a lot easier+ They are displayed on the Edi%ing 5e$avior page of the Preferences window. These are e,plained in Chapter %Q, but in short, some of the most useful of these include2 =hether to move the edit cursor when performing various actions G e.g. changing time selection or inserting media. =hether by default to link loop points to time selection. =hich focus point to use as the center when <ooming hori<ontally and vertically. These two important options put you in control of '()P(':s <oom behavior. Delecting mouse cursor allows you to simply point and <oom with the mousewheel. The option whether to move the edit cursor when selecting a media item is no longer on this page, but can now be set using the 3edia i%e) /ef% c/ic( conte,t on the mouse modifiers page. The default behavior for this is 6e/ec% i%e) and )ove edi% cursor but this can be changed to @ust 6e/ec% i%e).

@.@

6epara%ing .oop 6e/ec%ion Fro) -i)e 6e/ec%ion

The setting .in( /oop poin%s %o %i)e se/ec%ion Aon your Preferences, Edi%ing 5e$avior pageE determines whether by default the loop points are linked to your time selection. =hen linked, this means that when you select a time area other than that currently selected, the loop selection changes with it. )t any time you can override the default behavior by using the toggle command .oop poin%s /in(ed %o %i)e se/ec%ion on '()P(':s main *p%ions menu. (ven when this option is disabled Ai.e. not tickedE, you can still use the A/% key while you click and drag along the timeline to set both the time selection and the loop selection together.

E4a)p/e
For this e,ample we will be assuming that .oop poin%s /in(ed %o %i)e se/ec%ion has been turned off. *n this first e,ample, we have dragged along the timeline to create a loop. ?ow we have dragged within the track area, @ust below the media item. ) new time selection is made within the loop area, but the original loop selection remains. ?e,t, we have right.clicked over the area and chosen 6p/i% i%e)s a% %i)e se/ec%ion from the menu. =e now have a separate item Afor e,ample, to be muted, or to which we could add F;E, but the original loop area is still selected. Mere we have muted the previous Aand now splitE time selection, and made another new time selection, which we could also edit as reHuired. ?otice that we can carry on working with different times selections, but our original loop area remains intact. Kou can play this looped area over and over again while working on different time selections within it. For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) %%P

Up and Running: A REAPER User Guide v 4.59

@.B 6napping 'i%$ 9o)bined 6nap&Grid 6e%%ings

Kou have already learnt AChapter &E how to define grid settings. These determine whether or not a grid is displayed in your track area, and if so how that grid appears. The 6nap&Grid 6e%%ings window Ashown belowE can also be used if you wish to ensure that various actions Aincluding time or loop selectionE and3or items are automatically snapped into position according to your settings. This, for e,ample, might be to the nearest beat. The Dnap3/rid Dettings dialog bo, is accessed by choosing the *p%ions? 6nap&Grid 6e%%ings command, or by the keyboard shortcut A/% ., or by right clicking on the /rid button on the '()P(' toolbar. The keyboard shortcut A/% 6 is used to toggle the Dnap feature on and off. Kou can decide whether you want snapping applied in all or any of a number of ways, including2 3edia 1%e)s: (nsures that media items

when created, moved or edited will be snapped to your settings . at their start, at both the start and the end, or as determined by the mouse position at the time. 6e/ec%ion: Determines whether your time and loop selections should be snapped. 9ursor: Determines whether your cursor should be snapped. 9ursor %o edge of )edia i%e)s on any %rac(: /ood for navigating to item start, end, splits, etc. 6nap %o pro:ec% sa)p/e ra%e: (nables items to be snapped to items samples, cursor, markers, loop points and envelope points to snap to samples.
?otice the 6nap 7is%ance settings. These enable your snapping to be more fle,ible. For e,ample, you might set your grid spacing at, say P" pi,els, specify snap distance of, say, P pi,els and turn off the option to 6nap %o grid a% any dis%ance. This will ensure that snapping to grid will occur only when you click the mouse within P pi,els of one of the grid lines. Btherwise, the cursor will be positioned at the e,act place where the mouse is clicked. ?otice that you also have the option to make snapping Re/a%ive %o Grid.

@.C

6napping 'i%$ 6epara%e 6nap and Grid 6e%%ings

*n the above e,amples, '()P(' was set up to use the same set of snap parameters for grid display as was used for snapping. *n other words, the snapping would take place to the nearest grid position. Oet:s now see what we can do if we disable the option Grid snap se%%ings fo//o' grid visibi/i%y. =e have also changed the )ini)u) pi4e/s setting for grid /ine spacing, in this case to !" pi,els, whilst still specifying Aat the point where the cursor is shown on the screen shotE a grid snap spacing of one si,teenth beats. This produces a less cluttered display on the screen. Provided you have <oomed into your

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@ - Edi%ing -rac(s and 1%e)s

pro@ect sufficiently, gridlines will be shown for every Huarter beat but snapping will take place between as well as on the gridlines, at every si,teenth beat. ?otice also the 3edia i%e)s snap %o option. This can be set to 6nap bo%$ s%ar%&end, *n/y snap a% s%ar%&snap offse% or 3ouse posi%ion dependen% Athat is, at whichever position the mouse is nearer at the time, the start or the endE. -ip: =hen snapping is enabled, this can be over ridden when selecting a loop along the timeline by holding down the 9%r/ key while you make the selection.

@.9

-ri) 5e$ind +$en Edi%ing

The toggle command *p%ions? -ri) con%en% be$ind )edia i%e)s '$en edi%ing can be used to ensure that e,isting material is effectively replaced by new material which as a result of some editing action is placed over it. This option is also available by right. clicking on the )uto Crossfade icon on the main toolbar. The easiest way to understand what this feature does is to look at an e,ample of what happens when you move one item onto another with 7trim behind8 disabled and enabled. *n this e,ample, we are assuming that auto.crossfade has been turned off. Oet:s first recall how '()P(' behaves with trim behind disabled Athe default settingE.

%. Dhown left are two guitar tracks.

!. =e drag and drop the item from the second track over the top of the first. 1. *f we now enable free item positioning on the track and increase the track height, by dragging the item on top below the original media item we can see that both the original item and the new item are now stored in this track. Oet:s now see what happens if we repeat this e,ercise, but this time with the option -ri) con%en% be$ind )edia i%e)s '$en edi%ing enabled. Dteps one and two would appear to be the same as before. >ut look what now happens at step 12 This time, when we allow free item positioning and drag the new item down, there is nothing behind it+ The original item has been replaced with the new one. This e,ample has been included only as an illustration and an e,ample. *t does not mean that you have to make use of free item positioning if you wish to work with 7trim behind8 enabled.

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Up and Running: A REAPER User Guide v 4.59

@.#" -$e =udge&6e% 1%e)s +indo'

The =udge&se% i%e)s window can be opened from the media items right.click conte,t menu. Kou can use the )ctions Oist editor to assign this action to a keyboard shortcut, or the Customi<e enus3Toolbars editor to assign it to a toolbar. The use of both the )ctions Oist editor and the Customi<e enus3Toolbars editor is covered in Chapter %1. Bnce opened, this window stays open until you close it. Kou can select any item Aor a number of itemsE and use this window to nudge or set a position. (,actly how this behaves will at times depend on your other settings Afor e,ample, snap settings, and whether or not the item is loop enabledE. The main options and parameters in this window are described in the table below, moving from left to right. 1%e) Ac%ion E4p/ana%ion Choose =udge or 6e%. =hich of these you choose will determine how '()P(' will interpret the Uni% information. *f you choose ?udge, the item will be moved according to the unit specified by the amount specified. *n the e,ample shown above, the item position would be moved %" ms to the left or right Adepending on which ?udge button is clicked. *f you choose Det, the item will be moved to the position specified. =udge&6e% 7efini%ion Determines e,actly what will be nudged or set. Kour choices are2 Posi%ion .ef% -ri) .ef% Edge Rig$% Edge 9on%en%s 7up/ica%e =hole item2 the whole item will be physically moved The item is trimmed from the left The left edge is moved The right edge is moved The item itself remains static, its contents are moved within it Creates duplicate itemAsE

=hether the movement is left or right will depend on which button is clicked. *f 7up/ica%e is selected, you will be able to specify number of copies reHuired. Uni% Va/ue Determines the number of units by which the item will be nudged. This information needs to be interpreted together with the Uni% -ype selection. *n the e,ample shown above, the unit type is milliseconds and the unit value is %". Bptions include milliseconds, seconds, grid units, measures3beats, samples, frames, pi,els, item lengths, item selections and notes. *f notes is selected, an additional drop down list offering various fractions of a note Afrom %3!PR to wholeE is also displayed. =hether to enable or disable snapping. These buttons are displayed only if ?udge is selected. They determine whether to nudge the itemAsE to the left or to the right. These buttons are only displayed when Det is selected. Ge% 9ursor returns the current cursor position and writes it in the 7 %o:U bo,. App/y 3ove moves the item according to the various options and settings, including the position specified in the 7to28 bo,.

Uni% -ype

6nap %o Uni% =udge .ef% =udge Rig$% Ge% 9ursor App/y 3ove

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@ - Edi%ing -rac(s and 1%e)s

@.## 3edia 1%e) Proper%ies

)ll media items have a page of property settings which help determine the behavior of that item. Bften, editing in '()P(' consists of selecting an e,isting item Aor creating a new oneE and then changing its properties. To display an item:s properties, select it then press F!, or right click and choose 1%e) Proper%ies, or click on its properties button Aif visibleE. For audio Abut not *D*E items, you can also double.click on the item to do this. The edia *tem Properties bo, will stay open until you close it. *f you leave it open, its contents will reflect the properties of whichever item or items is3are currently selected at any time. Kou donIt need to understand every single one of these properties before you get started, @ust to know where this information is accessed and changed. The main properties contained within this dialog bo, are2 Posi%ion2 entering a precise figure here will move the start of this media item to that position. .eng%$ of media item Ashown in time or beatsE Fade 1n and Fade *u%2 you can define both the length and the shape, also enable or disable Au%ofades. 6nap offse%2 The amount of offset from the default snap position if snapping is enabled. 1%e) %i)ebase2 Defaults to pro@ect timebase but can be changed Atime, beats, etc.E. 1%e) )i4: (ffectively whether to replace or mi, when an item is placed over another. Defaults to pro@ect default. .oop source2 whether item is a loop. 3u%e s%a%us2 whether or not the item is muted. 1%e) /oc( s%a%us2 whether or not the item is locked. =hether or not to p/ay a// %a(es. Bbviously, this only applies where two or more takes e,ist. Ac%ive %a(e file name. )ctive %a(e na)e. >y default '()P(' will use the media item file name, but you can change this. Pi%c$ ad@ustment. 6%ar% in source: sets start time. P/aybac( ra%e. For e,ample, type 4! to double the playback rate of all items currently selected. =hether to preserve i%e) pi%c$ when the playback rate is changed. )d@ust Vo/u)e and Pan, =or)a/iDe. 9$anne/ )ode2 this is discussed shortly. =hether to inver% p$ase. )dd or remove -a(e enve/opes. =hich algorithm is to be used for pi%c$ s$if% and %i)e s%re%c$. 6%re%c$ )ar(er default fade siDe and whether to optimi<e for %ona/ con%en%. The option to use only a sec%ion of the media item. Bptions to reverse the item. (,amine the media item source file:s proper%ies. Choose a ne' fi/e to replace the e,isting source file. Rena)e the source file. For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) %%Q

Up and Running: A REAPER User Guide v 4.59

)ccess the =udge&6e% dialog bo, for this item. Bpen the -a(e F8 9$ain window for this take3item.

)fter making any changes, use the App/y button to apply them and leave the window open, or *H to apply them and close the window, or 9ance/ to close the window without applying changes. There is also an option Aright.click on title barE to App/y c$anges af%er ! seconds of inac%ivi%y that you can enable if you wish. Dome of these options G such as .oop 6ource and 9$anne/ 3ode G are also available on the 1%e) 6e%%ings menu. *n addition, for many of them Ceyboard Dhortcuts either already e,ist or can be defined. Kou will be shown how to create your own keyboard shortcuts in Chapter %1 when we e,amine the Ac%ions .is% Edi%or. -ip2 To change a property Ae.g. playback rateE of several items at once, simply select all of the items then, with the edia Properties window open, make whatever changes you reHuire.

@.#!

3edia 1%e) 1cons

For several of the settings in the *tem Properties dialog bo, there are icons AbuttonsE available that can be used as a Huick way of accessing these commonly used features. The display of buttons is turned on and off in the Appearance? 3edia page of the Preferences settings. The icons are listed in two rows. Ticking options in the first row means that the icons will be displayed only when the item has been enabled Aby a keyboard shortcut, the menu, or the *tem Properties dialog bo,E. Ticking options in the second row means that the icons will be displayed whether the feature is enabled or not. For e,ample, if you tick the 3u%e option in the first row but not the Un)u%ed option in the second, then the mute button will be displayed only when the item is muted. The button indicates the track:s mute status and can also be used to unmute it. *f you choose to tick this item in both rows then the mute button will always be displayed Aprovided there is sufficient roomE on all media items, and can be used as a toggle. (nabling Proper%ies Eresa)p/ed on/yF means that this button will only be displayed if an item is resampled. *n the e,ample shown AleftE we have two media items, both with lock status, notes, mute and F; buttons displayed. The first item is muted and the second item is locked. =hether your icons are displayed above the media items or superimposed upon the media items will depend on your preference setting Aon the same preferences pageE for the option 7ra' /abe/s above i%e) ra%$er %$an 'i%$in i%e) . ?ote that even if you have this option enabled, it will only be applied if there is sufficient track height. Kou:ll find more information about other settings on this Appearance, 3edia page in Chapter %Q.

@.#A

1%e) =o%es

The ?otes button Aor the 1%e) se%%ings? 1%e) no%es > command from the right.click menuE can be used to open a te,t bo, that can be used to enter any te,t notes for that item. =hen notes have been entered, a small ?otes icon will appear on the item. Movering the mouse over this icon will cause the notes to be displayed as a tool tip. Click on the icon to open and edit the ?otes window. =ithin the =o%es window, click on the .oad button to load any .P?/ or .$P/ image file. The option Use as i%e) bac(ground can be selected to display that image with the icon. Bptionally, you may also choose to 6%re%c$ %o fi% i%e). )n e,ample of a media item displaying an image is shown here. *cons can also be inserted into media items by dragging and dropping from (,plorer3Finder.

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@ - Edi%ing -rac(s and 1%e)s

@.#4 9o/oring 1ndividua/ 1%e)s

Kou can change the colors of individual media items Aor selections of media itemsE by first selecting the items and then displaying the conte,t menu and choosing 1%e) and %a(e co/ors, then 6e% i%e)s %o cus%o) co/or or 6e% i%e)s %o rando) co/ors or 6e% i%e)s %o one rando) co/or. Kou will need to ensure that at least one of the options to tint media item waveform peaks and3or backgrounds with 1%e) co/ors is enabled on the Appearance, 3edia page of your Preferences Asee aboveE. E4a)p/es *n the e,ample below, our vocal track has been split into several individual items. Oet us suppose that these include several verses and choruses, and that for whatever reason we wish to easily identify the choruses. =e can select the chorus items, then right.click over any item in the selection and choose 1%e) and %a(e co/ors? 6e% i%e)s %o cus%o) co/or from the menu. AThese commands are also available on the main Edi% menuE. =e can then select any color we wish from the 9o/ors dialog bo, and click on *H. These items are now shown in the selected color.

Bther similar commands include 6e% i%e)s %o rando) co/or and 6e% i%e)s %o one rando) co/or. To remove a custom color, choose 6e% i%e)s %o defau/% co/or.

@.#5

Ad:us%ing 1%e) Vo/u)e

>esides using envelopes Awhich we:ll get to in Chapter %RE there are three main methods available to ad@ust the volume of individual media items. They are2 -sing either the item volume handle or the item volume button. -sing the volume fader in the *tem Properties bo,. ?ormali<ation.

@.#5.#

-$e 1%e) Vo/u)e Hnob&1%e) Vo/u)e ,and/e

The Appearance? 3edia page of your Preferences settings includes the option to use either an 1%e) vo/u)e (nob or -op edge of )edia i%e) Aitem volume handleE as a Huick and easy way to ad@ust the volume of individual media items. The 1%e) vo/u)e (nob is shown here ArightE. Click and drag on this, up or down to increase or decrease item volume. Double.click to reset to "."d>. To ad@ust several items at once, select the reHuired items then ad@ust the knob on any one within the selection. The 1%e) vo/u)e $and/e is a hori<ontal bar that sits across the top of each of your media items. *nitially it will not be visible until you hover your mouse over the top of the media item to reveal a double headed vertical arrow. Kou can click and drag with your mouse down to lower the volume level Asee first illustrationE. To pick up the handle from the top of the media and increase the volume from there, hold down the 6$if% key while dragging Asee second illustrationE.

-se the 9on%ro/ key while ad@usting either the item volume knob or handle for fine ad@ustments. -ip: *f you want the item volume handle when set to "." d> to appear half way up your media items Arather than at the top edgeE, choose the *p%ions? Preferences command, then on the 3edia page set 3edia i%e) ad:us%)en% range to -inf...J@ d5. For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) %!%

Up and Running: A REAPER User Guide v 4.59

@.#5.! -$e Vo/u)e Fader

The *tem Properties dialog bo, includes a hori<ontal fader Ato the left of the normali<e buttonE which can be used to raise or lower an item:s volume. )fter ad@usting the level, click on App/y to apply it to the item. This method is useful especially if you are making ad@ustments to both volume and pan settings together, or if you do not wish the item volume handle to be displayed.

@.#5.A
can be %. !. 1.

=or)a/iDing 1%e)s The term normali<ing refers to ad@usting the volume of an item Aor selection of itemsE to a standard level. This

especially useful if some of your tracks have perhaps been recorded at too low a level. To do this2 Delect any item Aor group of itemsE to be normali<ed. 'ight click over the selection. Choose 1%e) processing then either =or)a/iDe i%e)s or =or)a/iDe i%e)s Eco))on gainF from the menu. -se the co))on gain option if you want the level on all items to be raised by the same amount, or relative to each other. This will be the amount by which the loudest of the items can be increased without clipping. *f you want every selected item to be normalised independently do not select the common gain option. This can be e,pected to result in a greater increase in volume for some items than if common gain had been selected. )ny individual item can also be normalised by clicking the =or)a/iDe button inside the *tem Properties dialog bo,. This is especially useful if you need to make changes to other item properties while you are normali<ing.

@.#@

9$anging 1%e) 9$anne/ 3ode

'ight clicking over any edia *tem and choosing 1%e) se%%ings from the conte,t menu causes a sub.menu to be displayed. ?otice in particular that for stereo media items, you have a number of 9$anne/ 3ode options Aalso available in the *tem Properties dialog bo,E. These include2 =or)a/: maintains or returns the stereo item to its original channel state. Reverse 6%ereo2 swaps left and right channels. 3ono E7o'n)i4E: combines both left and right channels into a single mono channel. 3ono E.ef%F: produces a single mono channel using only the output from the original left channel only. 3ono ERig$%F: produces a single mono channel using only the output from the original right channel only. For multichannel items Asee Chapter 1E you have also the option of mi,ing down in mono or stereo to channels other than % and !.

E4a)p/es
Dome e,amples are illustrated below. ?ote that these changes are non.destructive. Kou can switch an item between these different states as often as you wish. For e,ample, to convert a stereo media item to two mono items Huickly and easily, you can simply duplicate it, then set one to ono AleftE and the other to ono ArightE

3ode: =or)a/

3ode: Reverse 6%ereo

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3ode: 3ono E7o'n)i4F

@.#B

-a(e 6ource Proper%ies

The -a(e )edia source section of the edia *tem Properties dialog bo, can be used to view the properties of the currently selected take, or to change or rename its source file. =here the media item consists of only one take, then the terms 7take media source8 and 7item media source8 become synonymous To change the media item contents click on 9$oose =e' Fi/e, or to rename it use the Rena)e Fi/e option. Kou can click on the Proper%ies button to display information about the format of the original )udio file or *D* recording which is the source of the item. *n the case of *D* items, you can also modify some properties, such as restricting which channels are played. (,amples are shown below2

@.#C

REAPER Edi%ing and Audi%ioning E4a)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 techniHues. The best way to understand whatIs going on is to work thru some e,amples. These e,amples assume that you have the option to Oink loop points to time selection enabled. Bpen the file A// -$roug$ -$e =ig$%.RPP. -se the Fi/e? 6ave Pro:ec% As command to save it as A// -$roug$ -$e =ig$% E71-6.RPP. The e,amples that follow are designed to help you to learn and understand the use of '()P('. They are not intended to cover every possible feature G you can e,plore these for yourself G nor is it suggested that they represent a particularly good arrangement of this song. >y way of preparation, set pan the two guitar tracks 11L left and 11L right respectively.

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Up and Running: A REAPER User Guide v 4.59

%. =e are going to make a copy of the >ou<ouki 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 7up/ica%e %rac(s. Change the name of this new track to 5ouDou(i 9opy. Press 9%r/ 6 to resave the Pro@ect File. *n the Track Control Panel, click on the track number for the first >ou<ouki Track then hold the 9%r/ key and click on the track number for the second track. >oth tracks are now selected. Click on the 6o/o button for either track G both will be soloed. -se the mouse to lower the volume fader on either track to around G#d> G both tracks will be lowered. )s you get near to the G#d> mark, hold the Ctrl key down for more precise movement. Molding down the 6$if% key, move the Pan fader for the first >ou<ouki Track to around PPL left, and, still holding the 6$if% key, move the Pan fader for the second >ou<ouki track to around PPL right. 'ight click over the edia item for the second >ou<ouki Track. Choose 1%e) proper%ies from the menu. Change 6%ar% in 6ource to - ":"".""B. Click on App/y then *H. This causes this item to be nudged # milliseconds to the right. This adds a very small delay effect to make the instrument sound fuller. Press 9%r/ 6. Play the Dong. =hile it plays, hold down 9%r/ and click on the 6o/o button for either of the >ou<ouki tracks. This clears both the Dolos.

!. 1.

&. P.

R.

#.

6. Q.

%". 'ight click @ust beneath the -rac( 9on%ro/ Pane/ area and choose 6$o' )as%er %rac(. %%. )d@ust panning and volume for the various tracks to get a reasonable mi,. Kou might end up with something similar to that shown above. Press 9%r/ 6. %!. *n the e,ample shown, you might be happy with the overall balance between the different tracks, yet the overall volume of the aster might be @ust a tad too loud in parts. %1. Bpen the F8 bin for the aster and insert into it the 6&U%i/i%y .i)i%er. Det the ma,imum volume of the limiter to G".P. Close the F; window, and make sure the Solume Fader for the aster is set to "d>. Kou can now play the song without clipping. %&. ?otice there is an e,tended period at the end of the song that we might wish to remove. Position the Play Cursor at around the position shown AaboveE. ake sure that no track is selected, then press the letter 6 to split all tracks at the cursor mark. %P. ?ote that whereas before each track consisted of one item, each now has two items. The items Ato the rightE that you have @ust created by splitting should still be selected. *f they are not, right.click and drag over them to marHuee AselectE them. %R. Press 7e/e%e to remove these items. Press 9%r/ 6 to save. %#. ?ow weIre going to mute part of an item. =e first need to make a separate item containing @ust the area to be muted. -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 %!&

@ - Edi%ing -rac(s and 1%e)s

%6. Delect the media item for the Vo4 track. Position the (dit Cursor round about the PR second mark. %Q. Press the K key A6$if% RE to ma,imise the current track. Press 9%r/ A/% Up or 9%r/ A/% 7o'n until the Vo4 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. =eIre going to get rid of it. !". *f you want to hear it first, you can 6o/o that track and play it. DonIt forget to -nsolo when finished. !%. Siew the 5ig 9/oc(. =ith the edit cursor near the PR second mark, repeatedly press the J key, until the area we want to deal with occupies a large part of the screen. !!. Click once on the media item to select it. !1. Click and drag @ust below the timeline to select the region that we wish to work with Asee belowE. !&. 'ight click over the media item and choose the command 6p/i% i%e)s a% %i)e se/ec%ion. This creates a new item, and this new item is still selected. Press Esc to clear the time selection. !P. *f the item:s mute button is visible, click it. Btherwise, right click on this new item and choose 1%e) se%%ings then 3u%e. !R. Press the K key again to return the whole of your song to the display. )d@ust track heights as you wish. !#. Play the song. ?otice that the Vo4 track is now muted during the passage that we have been working on.

!6.

Press 9%r/ 6 to save. =eIll be returning to this e,ample shortly.

@.#9

Edi%ing 3u/%ip/e 3edia 1%e)s

Kou can use '()P(':s various item editing and manipulation techniHues Aincluding smart editingE on selections of multiple items. $ust make your item selection and then carry out the reHuired action Adelete or move, etcE. %. Kou can do this with more than one ad@acent track at a time by using the marHuee method Aright.click and dragE when making a selection. !. Kou can also do this for media items in non.ad@acent tracks. ake the time selection, then select the first item, then hold 9%r/ while you click on each of the other items. *n the first picture ArightE, tracks % and & have had an

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Up and Running: A REAPER User Guide v 4.59

area selected in this way. *n the second screen shot AbelowE, the same selected area has been cut from both media items. This is an e,ample of where you may wish to customi<e '()P(':s mouse settings to change its default behavior. For e,ample, you might wish to ensure that even when multiple items are selected, only the one item is edited. This can be done on the 3ouse 3odifiers page of your Preferences window, a topic covered in Chapter %1.

@.!"

6/ip Edi%ing

Kou can slip.edit unwanted passages from the start or end of a media item by following this seHuence2 Mover your mouse over the lower part of an itemIs left or right edge so that the mouse appears as a double headed hori<ontal arrow with a sHuare bracket Aas shown rightE. The direction faced by the bracket will depend on whether you are at the start of the item or the end. Click and drag to the right or left Aas appropriateE, then release the mouse. 6/ip Edi%ing 3u/%ip/e 1%e)s To slip edit several items in different tracks, simply select all the media items reHuired Afor e,ample, hold the 9%r/ key while clicking in turn on each item, or use the marHuee methodE, then slip edit any item in the selection. The change will be applied to all items in the selection Asee leftE. This is another e,ample of where you may wish to customi<e '()P(':s mouse settings to change its default behavior. For e,ample, you might wish to ensure that even when multiple items are selected, only the one item is slip edited. This can be done on the 3ouse 3odifiers page of your Preferences window. This topic is covered in Chapter %1. Take care when slip.editing ad@acent items, especially when they are touching each other. *f you click and drag on one of the items so as to create a space between the two, then slip editing will take place in the usual way. Mowever, if you slip edit in such a way as to overlap the items, you will create a crossfade. >oth items will be heard when the overlapping portion is played. This is illustrated here, where the end of the first Afurther leftE of the two ad@acent items has been slip.edited to the right, overlapping the other item. This behavior can be modified in two ways. Disabling auto.crosssfade Aon the toolbarE will stop the crossfade, but both items will still be heard. (nabling -ri) con%en% be$ind )edia i%e)s '$en edi%ing A*p%ions menuE will ensure that only the slip.edited item Athe item on topE will be heard during the overlap. )nother techniHue is to use slip.editing to move the boundary between two ad@acent items Aperhaps when an original item has been splitE. Delect both items and hover your mouse over the boundary between the items to see the symbol shown here. Kou can then click and drag left or right to move the boundary.

@.!#

Ad:us%ing Fades

*f you select any item in a track and <oom in close enough, you will see that there is a fadeout curve at the end of that item. Kou can change both the shape and duration of this curve, either using the mouse, or thru the 1%e) Proper%ies dialog bo,. %. Delect the rightmost item on one or more tracks. *n the e,ample shown ArightE two tracks have been selected. *n this e,ample the items selected are vertically aligned2 this does not need to be the case. !. Mover your mouse over the vertical white line that marks the start of the fade. The mouse changes to display a curved shape. -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 %!R

@ - Edi%ing -rac(s and 1%e)s

1. Click and hold down the mouse button. Drag left to increase the length of the fadeout Asee below leftE then release the mouse. ?otice that the fadeout curve is now more gradual. *f you were to slip edit any or all of these items, the fadeout would keep its shape and duration G it would @ust begin sooner. &. ake sure that your media items are still selected. P. 'ight.click over the vertical line that marks the start of the fadeout. ) menu of different fade curves will be displayed Asee rightE. Kou can select any of these. *f you prefer, instead of using your mouse, you can press F! Awith the items selectedE to display the *tems Properties dialog bo,. Kou can make your changes there. ?otice that your '()P(' *p%ions? Preferences dialog bo, includes an area on the Pro:ec% 7efau/%s screen where you can specify default fade and crossfade length, overlap, and shape characteristics. Dee Chapter %Q for further information.

*n addition, the Preferences 3ouse 3odifiers page gives you additional functionality by using modifier keys with your mouse when working with fades and crossfades. For e,ample, holding 6$if% while dragging the mouse left or right will move a crossfade left or right. Bther default settings are shown here, but you can change them. For information about customi<ing your mouse modifiers, see Chapter %1.

@.!!

9rossfades and %$e 9rossfade Edi%or

Typically a crossfade might be used to transition gradually from one media item on a track to another. *n the e,ample shown ArightE, two media items overlap each other with a crossfade. A/% 8 toggles on and off auto crossfade mode. =hen enabled, this ensures that dragging the start of one media item over the end of another will automatically create a crossfade. Default crossfade parameters Aincluding fade and crossfade s$apesE are set in the 3edia 1%e) 7efau/%s page of '()P(':s preferences. Sarious crossfade elements Asuch as shape, start and finishE can be edited with your mouse in much the same way as you might edit a simple fade. *n many cases this might be all you need to do. Mowever, if you need it the Crossfade (ditor gives you more precise control over the shape and sound of the crossfade. The Crossfade (ditor is opened using the Vie'? 9rossfade Edi%or command, or by double. clicking on a crossfade. >elow you can see the same crossfade as before, with the crossfade editor open. The crossfade area has been selected Aby click anywhere on the crossfade curveE. The crossfade editor displays the fade parameter information for the selected media items. *t might help to use a copy of your pro@ect at first, until you become familiar with how the controls work. The following should help you to understand the controls and options and how they can be used2
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Up and Running: A REAPER User Guide v 4.59

The fader uni%s Atop rightE can be set to your preference, either time AsecondsE or beats. )ny of the seven s$apes shown can be selected for fade out, fade in, or both. )fter choosing a shape, you can use the mouse directly on the crossfaded media items. Drag left3right on either curve to ad@ust the fade itself, or at the intersection to move @ust the point where the fades cross. The dialog bo, controls can also be used to edit the fades and crossfade Asee points belowE. ouse modifiers can be used to customi<e mouse behavior Asee ne,t pageE. Bptionally, you can select EIua/ gain or EIua/ po'er. EIua/ gain settings include linear fades Athe top shapeE. EIua/ po'er includes logarithmic fades Asecond from topE. (Hual gain might be preferred when both items contain similar material. (Hual power might be chosen when the crossfade is between two different types of sound or different instruments. )d@ustable parameters are curve, cen%er of crossfade, s%ar% and end locations of fade.out and fade.in, /eng%$, position of con%en%s Athe crossfade media itemsE, and vo/u)e of fades. ost of these are self. e,planatory. The curve setting will ad@ust the shape of the left, right or Aif linkedE both curves. Depending on other settings, this may cause the fades: intercept point to move left or right. ?ote also that when ad@usting the /eng%$ you can specify which position should be preserved G center, start, or end. The con%en%s rotary can be used to move either of the media items left or right. The vo/u)e con%ro/ can be used to ad@ust the volume of the crossfaded items. Parameter values can also be typed directly into the edit bo,es. Oeft3right values of the different parameters can be /in(ed or )irrored. (,cept for s%ar% and end, link and mirror are mutually e,clusive options. For e,ample, if s$ape is linked then changing the shape of either fade will cause both to be changed in the same way. *f mirrored, selecting a shape for one fade will cause an opposite shape Aif one is availableE to be applied to the other fade. *f s%ar% and end are linked and mirrored, then ad@usting either of these controls will change the crossfade start and end length eHually, keeping the center point constant. *f /eng%$ is linked, ad@usting the length of either fade will change the length of both fades eHually. *f mirrored, lengthening one fade will cause the other to be shortened by an eHual amount. *f con%en%s are linked, that control will move both media items left or right together. *f mirrored, it will move them in opposite directions. *f vo/u)e is linked, then ad@usting either control will raise or lower the volume
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@ - Edi%ing -rac(s and 1%e)s

of both items together. *f mirrored, then raising the volume on one side will lower it on the other. Kou can choose whether your edits should apply to all grouped i%e)s. Kou can se% the position of audi%ion points before and after the crossfade. (nabling audition will cause the crossfaded area Atogether with the pre.roll and post.rollE to be looped when play on the mini toolbar is engaged. )ny other e,isting loop settings in the pro@ect will be retained. There are also options to so/o the track and )u%e either left or right side of the crossfade. 'ight.click over the Crossfade (ditor for a conte,t menu. The mini toolbar at the foot of the window can be used to p/ay, pause and s%op playback, and enable3disable /oop audi%ion. Previous and =e4% select the previous or ne,t crossfade. The J button AtopE can be used to save the current crossfade editor settings as a Prese%. Bptionally, you can include crossfade length within the preset. Daved presets can be recalled from the drop down list to the left of this button. *f several crossfades are selected, the crossfade editor will by default apply its settings to the entire selection. For mouse edits, this can be changed in your mouse modifiers. Fade&9rossfade 3ouse 3odifiers and Ac%ions >oth media item fade intersection and fade3autocrossfade mouse modifiers ArightE can be defined separately for left click, left drag and double click actions. *n many cases the left drag modifiers are likely to be of most interest. These modifiers can be used when working with fades or crossfades, e.g., to enable or disable various options, Asuch as whether to ignore snap and3or selection3grouping, and whether to stretch itemsE or to assign actions Asuch as ad@usting the fade curveE. There are also options which enable you to ad@ust the fade curve with the mouse. Oeft click and double click modifiers can be used to apply any of a number of additional fade intersection or auto crossfade actions from '()P(':s )ctions list. These include actions to change fade3crossfade shapes, to ad@ust curves hori<ontally only or both hori<ontally and vertically, and to ad@ust fade curves in various ways. Dearch the actions editor to see the full list. For more general information about using both mouse modifiers and the actions list see Chapter %1. ?ote also that the Appearance? Fades&9rossfades page of your Preferences includes various options which determine how and when fade3crossfade edit handles are displayed Asee Chapter %QE.

@.!A

9rop Pro:ec% %o 6e/ec%ion

=hen recording, itIs not unusual to end up with a period of silence at the beginning, before your song actually starts, and varying periods of silence at the end of your various tracks, where you have perhaps allowed the recording to continue longer than necessary. Bf course, you can fi, this by slip.editing your tracks individually, then dragging and dropping them to the start of your timeline. ) Huicker way would be to 9rop pro:ec% %o se/ec%ion. To crop a pro@ect to selection, do this2 %. Click and drag along the background area to mark the area that you want to keep G see picture below. For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) %!Q

Up and Running: A REAPER User Guide v 4.59

!. 'ight click over the Timeline and choose 9rop pro:ec% %o se/ec%ion from the menu. *f you wish, press Esc when this is done to remove the time selection.

-ip: *f immediately after cropping to selection Aand before pressing EscE you again right click over the Timeline and choose Qoo) se/ec%ion from the conte,t menu Aor use the shortcut keys 9%r/ =u)pad P/us your pro@ect will e,pand hori<ontally to fit the width of your Track Siew window.

@.!4

Grouping 1%e)s

Provided that /rouping is enabled G *p%ions? 1%e) Grouping Enab/ed command, or A/% 6$if% G G items can be grouped together to facilitate working with them. For e,ample, you can move them together, set them all to a common color, mute and unmute them, and so onE. Delect the items and use G to add them to a group. *f you prefer, you can use the 1%e) grouping button on the '()P(' toolbar to toggle grouping on and off. *n the e,ample shown below, three of the si, items have been grouped. ?otice that for grouped items a Grouped icon will be displayed if this has been enabled in Preferences? Appearance? 3edia. (ven when this preference is disabled, you will see a thin colored bar above and below all items that have been grouped Asee rightE. Further items can be added to a group. Delect any item in the group, then press 9%r/ G to select the entire group. Mold the 9%r/ key while you click on those items that you wish to add to the group, then release Ctrl and press G. ?ote that U removes a selected item from a group. Kou can also use the Group commands from the right click item menu to manage groups.

E4a)p/e
Mere is a simple e,ample, using the file A// -$roug$ -$e =ig$% E71-6.RPP and save it as A// -$roug$ -$e =ig$% GR*UP 1-E36.RPP %. Delect the Vo4 track, and use the editing techniHues that you have already learnt to cut this track into several media items, so that it resembles that shown above. There are a number of ways you can do this G one is to position the cursor at the point that you want to split, then select the item, then press 6. 'epeat this as often as necessary. To remove unwanted items, select them and press 7e/e%e. !. Check your *p%ions menu to ensure that 1%e) Grouping is enabled. *f it isnIt, turn it on. ?otice that by default, the keyboard shortcut A/% 6$if% G can be used to toggle *tem /rouping on and off. -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 %1"

@ - Edi%ing -rac(s and 1%e)s

1. Delect the second of the items in the So, track. Mold down the 9%r/ key while you select in turn the fourth and last items for this track. &. Press G to bind them into a group. Delect any item in the group and press 9%r/ G to select them all. P. *f item icons are visible, click on the 3u%e button for any item in the group. Btherwise, right.click and choose 1%e) 6e%%ings? 3u%e from the menu. 'epeat this to unmute them. R. =ith all items in the group still selected, right.click on any of them and choose 1%e) and %a(e co/ors then 6e% i%e)s %o cus%o) co/or. Delect a color and press En%er. #. ?ow select the first of the items drag and drop to the right a little. )ll items in the group will move together. Press 9%r/ Q to undo this. 6. ?ow click on any other media item not in the group. This deselects the group. Dave the file. Q. Click again on any item in the group and press 9%r/ G. )gain, all group items are selected. %". Press U. These items are now ungrouped. Dave the file.

@.!5

6%oring and Reca//ing 1%e) Groups

Different groups of items can be saved and recalled using the 1%e) Groups tab of '()P(':s Pro@ect >ay. The Pro@ect >ay will be e,plored in more detail in chapter %%. For now, notice that you can open it using the Vie'? Pro:ec% 3edia&F8 5ay command, and then select the 1%e) Groups tab. To create and save multiple groups, simply use this method2 Bpen the Pro@ect >ay and select the 1%e) Groups tab. Delect the items for your first group then right click over one of them and choose Group then Group i%e)s from the menu. ) group will automatically be created in the Pro@ect >ay. Kou can right click over the group name and choose Rena)e group to give it your own name. 'epeat this step to create subseHuent groups. The e,ample here shows a pro@ect with two item groups.

To select all items in a group, you can now right click over its group name in the pro@ect bay and choose 6e/ec% group from the menu. To remove a group, use the 7e/e%e group? (eep i%e)s command on the same menu. -ip: To ad@ust the volume of all items in a selected group, hold 9%r/ and A/% while ad@usting the item volume button or item volume handle of any one of the items in that group.

@.!@

G/ue 6e/ec%ed 1%e)s

=hen you have a number of items in a track that you wish to permanently treat as one, you should consider using the G/ue i%e)s command. =hen you glue items, they become one and a new media item is created. For e,ample, two *D* items glued together will automatically and always open together in the same *D* (ditor For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) %1%

Up and Running: A REAPER User Guide v 4.59

window. Two audio items glued together will now share one common set of *tem properties. *tems that have been glued together can be later split up any way you wish. This can be useful if you later realise that you need to ad@ust one or more properties of a portion of a glued item. To glue together a number of ad@acent items in a track, follow this procedure2 %. Delect all of the items that you wish to glue. The easiest way to do this is probably to right click and drag the mouse across the items. !. 'ight click over any item in the selection and choose G/ue i%e)s from the conte,t menu.

E4a)p/e
*n the e,ample shown below, a track is made up of si, separate media items Aas in the e,ercise aboveE. >y positioning the mouse initially over the first item, then right clicking and dragging to the last item before releasing the mouse, we ensure that all items are selected.

=e then right click over any of these items Awhere the mouse is shown aboveE and choose G/ue se/ec%ed i%e)s from the menu. )s a result, the five items are @oined into one, as shown below.

Bne application for gluing items is to @oin several items together into a new loop source. Kou:ll learn more about working with loops in Chapter 6. )nother use for glue is to render an item, for e,ample, incorporating item gain and item F; into the new media item and setting the F; to bypass. =hen a selection of two or more items are glued in this way, the F; and so on will be applied to the appropriate sections of the new item.

@.!B

9rea%ing and 9opying 1%e)s in Penci/ 3ode

'()P(' includes an optional pencil mode that can be used to create new media items or make copies of e,isting ones. Mow the feature works is determined by your -rac( /ef% drag settings on the 3ouse 3odifiers page of your Preferences window. *n Chapter %1 you will learn how to change these settings to suit your own custom reHuirements if you need to. For e,ample, you could assign the 6$if% modifier to be used to draw a new item. For now, we will be looking at the default settings. These default settings are shown here. >y default, the following modifiers can be used when clicking and dragging the mouse in an empty area in )rrange view2 9%r/ G draws a copy of currently selected media item. Dnapping will be applied if enabled. 9%r/ 6$if% . draws a copy of currently selected media item, will not snap. 9%r/ A/% . draws a copy of currently selected media item pooling *D* source data with snapping Aif enabledE. *D* source data, will not snap. 6$if% 9%r/ A/% . draws a copy of currently selected media item pooling

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@ - Edi%ing -rac(s and 1%e)s

The illustration above is an e,ample of this. The first of two e,isting media items on a track has been selected. >y holding 9%r/ while clicking and dragging further along that track, a copy of that media item is made.

@.!C

1nser% 6pace a% -i)e 6e/ec%ion

The command 1nser%? E)p%y space a% %i)e se/ec%ion can be used to create a 7gap8 anywhere in a song. Dimply make your time selection before selecting this command. The space is applied to all tracks Aas shown hereE. Kou could then create additional material on any or all tracks in the space that you have opened out.

@.!9

Ripp/e Edi%ing

The simplest way to describe ripple editing is this2 usually, when you delete part of a media item, a gap is left on the track where the deleted item used to be. =ith ripple editing, the material on the track is moved over to fill that gap. This is illustrated in the three screen shots below. This first picture AleftE shows a media item selected with a time selection highlighted. =ith ripple editing off, deleting the selected area of the selected media item has the effect shown here. =ith per track ripple editing enabled, deleting the selected area of the selected media item has the effect shown here. To access 'ipple (diting, choose the *p%ions? Ripp/e edi%ing command, or use the keyboard shortcut A/% P, or use the 9yc/e Ripp/e Edi%ing 3ode button on the main toolbar. The same action Achoosing the command or using the shortcutE toggles the 'ipple (diting status between three states2 *ff: This is the default mode. *tems will not shift when you edit a track. Per -rac(: *f you select the ripple editing option once, it will change to per track ripple editing. 'ipple editing will then be applied when you are editing the currently selected trackAsE but not to any other tracks. A// -rac(s: *f you select the ripple editing option once more, it will enable the all tracks ripple editing. This means anything you do to )?K of the items on )?K track will affect the (?T*'( pro@ect. This can be used, for e,ample, for deleting entire sections of songs. *n this mode, markers and automation are locked to the items that they relate to, so as you move items the associated markers and automation move too. -sing this mode on multiple tracks is very useful for editing multitrack recordings of live material . everything that belongs together stays together in sync as you edit. For instance, if you split the item at a couple of places Aso you now have three itemsE then delete the middle piece, the remaining pieces @oin up, but unlike with a normal stereo editor, you can ad@ust the @oin by dragging the ends of the items appropriately. *f you want to move material from one place to another, you can split at the insertion point, drag the material to the right of the insertion out of the way, then make the insertion and drag the displaced material to @oin it. )ll items to the right of the dragged item will stay together and markers and automation will move correctly too. For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) %11

Up and Running: A REAPER User Guide v 4.59

Mere is shown one e,ample which uses ripple editing on all tracks. 'ipple (diting, all tracks is enabled. *n the first illustration, the period of silence before the recorded program starts is selected. The command 9u% se/ec%ed area of i%e)s is then applied. The selected area is cut from all tracks, and the remaining material is moved to the pro@ect start. -ip: Dhortly in this chapter you will be shown how to use )ouse )odifiers to determine how '()P(' behaves when an item or selection of items is dragged. This includes options to select and apply any of the three ripple editing states when the itemAsE is3are being dragged,

@.A"

-ri) %o 6e/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 seHuence2 %. Delect the media item Aor itemsE. !. Click and drag in the track background area to select the area that you want to keep. 1. 'ight click over a selected media item and choose -ri) i%e)s %o se/ec%ed area. *f Ripp/e Edi%ing is turned on, the area that is trimmed will also be removed from the timeline, otherwise some empty space will be left. *f your 6nap&Grid 6e%%ings are set to include 3edia 1%e)s, then provided that snapping is enabled, snapping will be applied when you select the area to be trimmed.

@.A#

Free 1%e) Posi%ioning

Choosing the option for free i%e) posi%ioning enables you to move your media items around freely within a track or tracks. This can be helpful, for e,ample if you want two or more media items to play simultaneously or to overlap on the same track. To turn this feature on2 %. Delect the track Aor tracksE for which you wish to allow free item positioning. !. 'ight click over the Track Control Panel and choose Enab/e %rac( free i%e) posi%ioning from the conte,t menu. The following series of illustrations demonstrates an e,ample of how this feature might be used. *n the first screen shot we have a Oead Socal and a Marmony Socal on different tracks. =e might find it convenient to place these together on the same track. *n the second screen shot we have enabled Free *tem Positioning for the So, ain track. ?otice that there is a small handle Ashown by the mouse cursorE which can be used to ad@ust the height of this media item. *n the third screen shot the media item for the So, Mmy track has been dragged and dropped into the So, ain track. =hen this track is played, both of these media items will play together. *n fact, in this e,ample, Track 1 can now be deleted. -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 %1&

@ - Edi%ing -rac(s and 1%e)s

(ach of the Ain this case twoE items is independent of the other. (ither or both can be muted and unmuted, have F; added to them, have changes made to pitch and3or playback rate, and so on. Kou can use the 3edia 1%e) Proper%ies dialog bo, AF!E and3or the right.click conte,t menu for this purpose.

@.A!

3ouse 3odifiers

Kou have already encountered many e,amples of how '()P(' uses the mouse with and without modifiers to perform a whole range of tasks. These have so far included making loop and time selections, copying and moving media items, slip editing media items, using item pencil mode, and so on. *n Chapter %1, you:ll learn more about how you can modify any of these if you wish, and even create your own. eanwhile, you can find out more about the various ouse odifier default settings by browsing thru the Edi%ing 5e$avior, 3ouse 3odifier section of your '()P(' Preferences. From the 9on%e4% list, select a topic, such as edia item click, edia item edge drag, Track click, 'uler, click, )rrange view right.click, etc. ) summary list of all default mouse actions relevant to that conte,t will be shown. Kou can then double.click on any entry in the odifier column to assign an action to that modifier. Dhown here AbelowE is an e,ample of the default actions associated with the various mouse modifiers for when you are dragging media items. For e,ample, by default, clicking and dragging a media item will move it, ignoring any time selection. Molding 9%r/ as you do so will copy it G and so on. There are many more for you to choose from. For e,ample, you could define 6$if% +in as a modifier to restrict item movement to being vertical only, when moved or when copied. Kou could use 9%r/ +in for ad@usting an item:s volume, and so on. To do either of these, you would need to double.click on the modifier in the list, then make your choice from the list of commands and actions offered. The 9on%e4% drop down list includes the following entries that can be relevant when you are working with media items. 3edia i%e) E/ef% c/ic(? /ef% drag and doub/e-c/ic(F 3edia i%e) bo%%o) $a/f E/ef% c/ic(? /ef% drag and doub/e-c/ic(F 3edia i%e) edge E/ef% drag and doub/e-c/ic(E 3edia i%e) fade&crossfade E/ef% c/ic(? /ef% drag and doub/e-c/ic(F any conte,ts have an option associated with them2 where present, this is displayed below the table, @ust above the *H button. *n the e,ample here, you have the option whether or not to treat the label area above the item as empty track space. ?otice too the 1)por%&e4por% button. This can be used for saving and recalling your mouse modifier actions, either for the currently selected conte,t or for all conte,ts. There:s a lot to e,plore here, and how you use these options will very much depend on your own personal needs. The e,amples that follow should help to get you started.

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Up and Running: A REAPER User Guide v 4.59

3edia 1%e) .ef% 9/ic( 3odifiers Dhown here are the default assignments for mouse behavior when you click on any media item. ?otice that the default behavior for a simple click is 6e/ec% i%e) and )ove edi% cursor. Bn the other hand, A/% 9/ic( will select the item without moving the edit cursor. *f you wish, you can swap these assignments over, so that a simple click will select the media item without moving the edit cursor. To do this, @ust double.click in the list on the item that you wish to change, then select your preference from the list Asee rightE. Kou will find more information about customi<ing mouse modifiers in Chapter %1.

3edia 1%e) Edge .ef% 7rag Dhown here ArightE are the default mouse modifier settings that are used when clicking and dragging on the edge of any media itemAsE. Chapter %1 includes a step by step e,ample showing how you can change these.

*%$er *p%ions ?otice that you can assign different modifiers to be used when clicking on the bottom part of media items from those used when clicking on the top part. *n the e,ample shown here, the default action for a simple click on the bottom half of a media item is being changed to Add i%e) %o se/ec%ion. =o%e: =hen the conte,t 3edia i%e) bo%%o) $a/f is selected, an option is displayed to 7isab/e %arge%ing of bo%%o) par% of )edia '$en %a(e /ane $eig$% is /ess %$an 44 pi4e/s. >y default this is set to &&. Kou will need to change this if you want to be able to use these conte,t actions with media items less than && pi,els high. These are @ust some of the many possible e,amples which illustrate how you can use mouse modifiers in various different conte,ts when editing media items. *t:s up to you now to e,plore the many other options for yourself, depending on which aspects and options are most important to you+

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@ - Edi%ing -rac(s and 1%e)s

@.AA 7yna)ic 6p/i%%ing - Re)ove 6i/en% Passages

'()P(':s Dynamic Dplitting 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. Bne such use is to clean up a track and remove those passages that should be silent. This can be handy, for e,ample, with a vocal track, to auto&matically clean up the passages between verses which might contain unwanted background noises such as breathing or shuffling sounds. Duppose that you have recorded such a vocal track. =ith dynamic splitting you can effectively tell '()P(' to go thru the track and take out all of the passages where the vocalist isn:t 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 1%e) processing, 7yna)ic sp/i% i%e)s> command. Kou then need to select the reHuired parameters before splitting. Kou are given immediate visual feedback before e,ecuting the command. (ach split point is indicated by a colored vertical line and those areas marked for removal are shown as darker. Dynamic splitting will be e,amined in more detail in Chapter 6, in the conte,t of tempo based music production, but when applied to this particular task it can be used as e,plained in the table below. Dtart with settings similar to those shown here and ad@ust then as necessary.

6u))ary of 7yna)ic 6p/i%%ing Para)e%ers =hen used in this way, dynamic splitting basically employs a noise gate to tell '()P(' how often and where to split your media items and which areas are to be removed.
7yna)ic 6p/i%%ing Para)e%er A% %ransien%s +$en ga%e opens +$en ga%e c/oses Reduce sp/i% 3in s/ice /eng%$ 6e%%ing %o Re)ove 6i/en% Passages Deselect this option when using dynamic splitting for this purpose. Kou would be unlikely to select one of these options without the other. >oth of these options need to be turned on, so that '()P(' can work out the beginning and end of each passage that is to be removed. *n most cases, when using dynamic splitting for this purpose this item should be deselected. This sets the shortest length for any slice. Kou will probably need to e,periment to get it right. -sually, this should be set to a low value. Mappily, '()P(':s dynamic splitting interface gives you immediate visual feedback. Kou can see by looking at the screen when your settings are right. The illustration below shows the effect of setting this value too high. ?otice that it can result in some recorded passages also being removed *n most cases for this particular application this setting should not matter. *f in doubt, try both and be guided by the visual feedback.

9ons%rain s/ice /eng%$

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Up and Running: A REAPER User Guide v 4.59

7yna)ic 6p/i%%ing Para)e%er Ga%e %$res$o/d 6e%%ing %o Re)ove 6i/en% Passages 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 Huieter passages of the recorded material. Dtart around .P"d> and make any necessary ad@ustments from there.

3in si/ence /eng%$ ,ys%eresis

This is another parameter that will reHuire fine tuning. Det too high it will fail to catch all the periods of silence, This setting can be used to ad@ust the level at which the gate closes relative to that at which it opens. *n the e,ample shown above, the gate will close at .R!.P d> and reopen at .P" d>. 'aising the hysteresis figure closer to or even above "d> will have create more splits. For this application you would choose 6p/i% se/ec%ed i%e)s or 6p/i% se/ec%ed and grouped i%e)s. The other options involve the use of stretch markers, which will be covered in ChapterQ. This option should be enabled. (nabling fade pad can help ensure a smoother transition. Oeave them as shown here.

Ac%ion %o perfor)

Re)ove si/ence Fade Pad *%$er se%%ings

@.A4

6+6 E4%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 freHuently. This might include, for e,ample, actions as diverse as lining up a number of media items with the edit cursor, or setting the volume of an entire selection of media items in one action. Kou will find that many of these actions G and more . are available as a plug.in to '()P(' by downloading and installing the 6+6 E4%ensions Pack. To do this, you simply follow this seHuence2 %. /o to $%%p:&&'''.s%anding'a%ers%udios.co) !. Follow the instructions to download the correct version for your operating system. 1. )fter downloading, run the install program, then start '()P(' in the usual way. The contents of this e,tension pack are by no means lightweight. They include not only hundreds of useful actions for editing and more but also whole modules which bring e,tra functionality to '()P(', including mi,ing snapshots and marker management. Do comprehensive are they that they come with their own PDF manual.

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B - Arranging? 9o)ping and Edi%ing -a(es B Arranging? 9o)ping and Edi%ing -a(es

(arlier, in Dection 1, we looked at how you can create multiple takes when you are recording. *n particular, make sure you are familiar with the sections that cover 6$o'ing -a(es in .anes, Using 9o/or 9oded -a(es and +or(ing +i%$ 3u/%ip/e -a(es. The editing and arrangement techniHues covered in Chapter R can also be applied to editing a pro@ect with multiple takes. This e,ample is intended really to get you thinking about how you might approach the task. Kou have two main methods at your disposal. Kou can either2 (,plode the takes to new tracks. Kou can then work on and edit each track separately and Aif you wishE @oin them all back to a single track when you have finished, or =ork on and edit the various takes all within the single track on which they were recorded. =e:ll get to this method later in this section. ?ote that unless specifically stated otherwise, the instructions in this section assume that you have the free item positioning option disabled for the tracks that you are working on. This is the default setting. AFor more information about free item positioning, see chapter RE.

B.#

E4p/oding -a(es %o 3u/%ip/e -rac(s

=e:ll start by looking at the first of these two methods. OetIs suppose that we have recorded three takes of a vocal track. =e can right click over the item and use the -a(e? E4p/ode a// %a(es %o ne' %rac(s command.

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

Finally, we select the various items from tracks 1 and & and use the =u) .oc( C key to move them up to track !. Track % is now muted and could of course be hidden. Tracks 1 and & could be deleted.

Kou could now select all of the items in track ! and use the G/ue 1%e)s command to bind them together as one media item. ?ote that the original muted track with the three takes on it is still available. This makes it easy at some later time for us to change our mind about what to include in the vocal track if we wish.

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Up and Running: A REAPER User Guide v 4.59

B.! 9rossfades 'i%$ -a(es
*f you intend to arrange your media items so that they overlap, then you should first decide whether or not you want '()P(' to add a crossfade. This feature is turned on and off using the Au%o 9rossfade button on the main toolbar Aor the keyboard shortcut, A/% 8E. The curves of crossfades can be edited. Kou can e,tend the crossfade in either direction by dragging the vertical fade bars. *f you hold 6$if% while doing this, you can move the crossfade itself left or right to a new position. 'ight.clicking over the crossfade reveals a menu of different crossfade shape options Asee leftE. -sing these techniHues can ensure that an otherwise abrupt edit is smoothly disguised by a gradual transition at the best edit point. Sarious options are available to you for customi<ing mouse behavior when crossfade editing. These can be selected from the Edi%ing 5e$avior? 3ouse 3odifiers page of your Preferences G see also Chapter %1. )n e,ample of this shown here. For more powerful and sophisticated crossfade editing, you might wish to use the Crossfade (ditor Asee Chapter RE

B.A

E4p/oding -a(es in P/ace

)nother option is to use the -a(e? E4p/ode a// %a(es Ein p/aceF command. This has the effect of merging all takes on the track into a single lane. Mere:s an e,ample of when you might wish to do this. The track shown here includes three lead vocal takes. Kou have made your selection of the best parts of each take. These have had their individual item properties Asuch as volumeE ad@usted to give you the sound that you want.

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

B.4

P/ay A// -a(es

Mere:s a really interesting trick you can do with takes. Dhown here is a vocal track with an overdubbed vocal harmony for @ust two lines. >oth takes at that point have had individual pan and volume envelopes added, and perhaps some F; in their individual take:s F; chains. )fter selecting both these media items, right.click over either one of them and choose 1%e) se%%ings then P/ay a// %a(es. =e now have our complete vocal and harmony mi, on one single track+ This setting is also available from within the *tem Properties window.

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B - Arranging? 9o)ping and Edi%ing -a(es

B.5 Edi%ing and 9o)ping 3u/%ip/e -a(es

Kou don:t need to e,plode takes to multiple tracks in order to manage them. *n this section we:ll see some of the ways in which you can manage your takes all within a single track. *n overview, this essentially consists of selecting the best parts of each take and comping them together into a single take of your preferred selections.

6/ice and 7ice

=hen you choose the *p%ion to 6$o' a// %a(es in /anes E'$en roo)F there is a neat techniHue 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 6p/i% the track in as many places Aand at the e,act pointsE that you think appropriate, then select from each slice your preferred section. The different methods that you can use for splitting are e,plained in Chapter R. ) clever trick is to make all of the items that together make up a complete set of preferred takes a different color from the others. To do this, first choose your takes and select all of the media items Ause marHuee to do thisE, then choose from the 1%e) menu 1%e) and %a(e co/ors, then 6e% ac%ive %a(e %o cus%o) co/or or 6e% ac%ive %a(e %o one rando) co/or. These commands are also available from the media item right.click conte,t menu. )n e,ample of how this can be used is shown below. ?otice in this e,ample that the second of these takes consists of an overdub of @ust a small portion of the song. The option to 7isp/ay e)p%y %a(e /anes A*p%ions? -a(e /ane be$avior menuE is enabled to ensure that your takes are displayed more clearly. )n empty part of a take Asuch as e,ist in Take ! hereE cannot be selected unless you enable A//o' se/ec%ing e)p%y %a(e /anes A*p%ions? -a(e /ane be$avior menuE. *f you prefer not to see the empty take lanes, you can hide them by disabling 7isp/ay e)p%y %a(e /anes A*p%ions?

-a(e /ane be$avior menuE, as shown above.

9o)p 6e%s
Kou can save multiple comp sets for individual tracks Aas shown aboveE and even for groups of tracks Aas shown rightE. This is a pro@ect with two vocal tracks, each of which has been sliced and diced and the preferred takes colored rusty red. =ith all media items in this set selected Ause marHuee for thisE, you can right.click over the selection and choose 9o)ps then 6ave as ne' co)p from the conte,t menu. Kou will be prompted for a name2 this name will then be added to the Comps menu and can be used to recall this comp from the menu at at any time. Bne advantage of this is that it makes it easier for you to compare different combination of slices from different takes, and hence arrive at the best outcome. There is no limit to the number of comp sets that you can save and use. Mere is a summary of the commands on the 9o)ps sub.menu. For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) %&%

Up and Running: A REAPER User Guide v 4.59

9o))and 6ave as ne' co)p Rena)e ac%ive co)p Re)ove ac%ive co)p 9rop /is% %o ac%ive co)p 3ove ac%ive co)p %o %op /ane 9o)p na)es E4p/ana%ion Daves your current selection of takes on all currently selected tracks as a new comp set. Kou will be prompted for a name. Oets you change the name of current active comp set. Deletes the currently selected comp set and removes it from the Comps menu. This does not remove any takes or media items from the pro@ect itself. 'emoves other comp sets from comps menu list. oves all items in take selection to the top lane of its track.

Kour comps will be listed at the end of the Comps menu Asee e,ample rightE. Choosing any of these will cause that set of takes to be selected.

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

*n this e,ample, with our preferred comp set selected we have used the command 3ove ac%ive co)p %o %op /ane. Don:t forget also that by pressing 9%r/ . you can toggle lane display on and off, as shown here. -ip: =hen you use lanes and slice and dice in this way, you can use the =u) Pad keys % and 1 to slide items left or right if their timing is slightly out of sync with other takes. The e,act amount by which these keys will slide your selected media itemAsE will depend on how closely you are <oomed in or out. )s a rule, you are likely to find that in the earlier stages of post production, you are more likely to want to create and save comp sets for individual tracks, rather than for groups of tracks. This will offer you a great deal of fle,ibility in how you 7mi, and match8 your various tracks together. Mowever, as your mi, progresses towards its completion, you may find that it can be more advantageous to save comped sets for whole selections of tracks, so that they can be recalled and used together.

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B - Arranging? 9o)ping and Edi%ing -a(es

The table below summari<es other -a(e menu management commands that are available to you2 9o))and E6$or%cu%F =e4% %a(e E-F Previous %a(e E6$if% -F 7e/e%e ac%ive %a(e E8F 9rop %o ac%ive %a(e EA/% 6$if% -F 7up/ica%e ac%ive %a(e .oc( %o ac%ive %a(e E4p/ana%ion akes ne,t take the active take for all selected media items. akes previous take the active take for all selected media items. Deletes currently selected take on all currently selected media items. 'emoves all non.active takes from currently selected media items. )dds a copy of the active take to the item as a new take. This is a toggle command. *t locks the current active take selection. =hen take locking is applied to a media item, its active take cannot be changed unless this toggle is unlocked. Bpens the F; browser to allow you to add F; to the active take for the selected media item. 'emoves F; previously added to a take:s FC chain. )dds an automation envelope to the selected take. Kou:ll learn more about automation envelopes in Chapter %R. Copies each take to a new track. Places selected takes on the same track on top of each other, so that all will play at once. Places selected takes on the same track in seHuence, one after the other. This command turns this J. into this2

6$o' F8 c$ain for ac%ive %a(e Re)ove F8 for ac%ive %a(e -a(e vo/u)e enve/ope -a(e pan enve/ope -a(e )u%e enve/ope -a(e pi%c$ enve/ope E4p/ode a// %a(es %o ne' %rac(s E4p/ode a// %a(es in p/ace E4p/ode a// %a(es Ein orderF

1)p/ode i%e)s across %rac(s in%o %a(es:

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

J into this2

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Up and Running: A REAPER User Guide v 4.59

9o))and E6$or%cu%F 1)p/ode i%e)s on sa)e %rac( in%o %a(es: E4p/ana%ion oves all selected items to the same start time as a series of takes on the same track. This command turns this J. into this2

Pas%e %o %a(es in i%e)s

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

B.@

3ore -a(e 9o))ands and Ac%ions

The third section of the *tems conte,t menu contains a series of commands that involve creating a new take from an e,isting item. These commands open up for you a number of interesting and creative options. The first three of these involve applying track effects to an e,isting media item and are essentially similar G one creates a mono item, one a stereo item and the third of these is used with *D* items. The table below summari<es these commands and how they are used. 9o))and E6$or%cu%F App/y %rac( F8 %o i%e)s as ne' %a(e App/y %rac( F8 %o i%e)s as ne' %a(e E)ono ou%pu%F App/y %rac( F8 %o i%e)s as ne' %a(e E3171 ou%pu%F E4p/ana%ion Bne use for this command is to free up CP- if your system is becoming stressed. Consider an e,ample of a track with some F; in its F; chain, say reverb and a compressor2

)fter applying track F;, we have a new take with the F; applied to it. The original F; chain can now be set to bypass2

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

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B - Arranging? 9o)ping and Edi%ing -a(es

9o))and E6$or%cu%F Reverse i%e)s as ne' %a(e E4p/ana%ion Kou can have some fun with this one. *t does what it says G it adds a new take to the media item with the material reversed. Mere:s an e,ample. Dtarting with this J

J we end up with this2

)s well as these commands, '()P(':s )ction Oist Asee Chapter %1E includes a number of actions you can use to deal with empty take lanes. These actions Awhich can be assigned to shortcut keys or toolbarsE are2 1%e): Re)ove a// e)p%y %a(e /anes 1%e): Re)ove %$e e)p%y %a(e /ane af%er %$e ac%ive %a(e , and 1%e): Re)ove %$e e)p%y %a(e /ane before %$e ac%ive %a(e Don:t forget how many options you now have J slice and dice, play all takes, volume, pan and mute envelopes, pitch and3or playback rate shifting, take F; J and so on+ Foo%no%e: 9onfused abou% co/orsX '()P(':s Preferences? Appearance, 3edia settings includes so many color options that you could be forgiven for being confused as to how they work. *n the e,ample shown here, we have asked for media item peaks and backgrounds to show both track colors and take colors. Clearly to show both of these will not be possible. *n cases like this, the option furthest to the right will take precedence. *n other words, for a particular media item, if takes have not been colored then the track colors will be used. *f, however, take colors have been specified, then these will take precedence over track colors.

B.B

3anaging 9o)ps 'i%$ %$e Pro:ec% 5ay

Takes and comps can also be managed from within '()P(':s Pro@ect >ay. The Pro@ect >ay is a one.stop center which allows for the convenient management of a pro@ect:s media items, F;, item groups, takes and comps. *t is e,plored and e,plained in detail in Chapter %% of this -ser /uide. To open and display the Pro@ect >ay, use the Vie'? Pro:ec% F8&3edia 5ay command. Click on the tab labeled -a(e 9o)ps to display the takes and comps management section. Clicking on the *p%ions button Abottom rightE displays a menu. This menu is e,plained in detail in Chapter %%. For now, notice the option to 3irror se/ec%ion in bay and pro:ec%. =hen enabled, this allows you to select any media item or segment by clicking on it either in the pro@ect itself or in the list shown in the pro@ect bay.

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Up and Running: A REAPER User Guide v 4.59

=ithin the pro@ect bay window Asee belowE you can right click over any listed comp to display its conte,t menu. Choices include commands to Ac%iva%e co)p, Rena)e co)p and 7e/e%e co)p E(eep %a(esF. Kou can also create a new comp from your current take selection by clicking on the Ac%ions button Abottom rightE and choosing 9rea%e ne' co)p from the )ctions menu. )n e,ample of a pro@ect with the Pro@ect >ay open and the Take Comps window selected is shown below2

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

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C - .oops? 3ar(ers and Regions C

C.#

.oops? 3ar(ers and Regions

9rea%ing .oops

)ny audio, *D* or click source *tem can be looped. *ndeed, by default '()P(' media items are loop enabled. Kou can disable this for individual items in the edia *tem Properties dialog bo,, or globally Afor *D* and imported itemsE on the Pro:ec%? 3edia 1%e) 7efau/%s page of your Preferences. The loop point is defined by the duration of the source media. *f you insert an item that is four bars long, it will loop every & bars, if it is 6 bars, it will loop every 6 bars, etc. ?ote that in the following e,amples, if you are using beats for your timebase, the item must be an e,act number of beats in length, or it will not loop in sync. *f necessary, ad@ust the playback rate A edia PropertiesE while preserving pitch, then glue the item to do this.

-o .oop an en%ire 1%e)2

%. Mover the mouse over the edge of an *tem until the Cursor changes to a double.headed arrow Asee rightE. !. Drag the Cursor to e,tend the *tem. (ach loop point will be indicated by a notch in the item edges. 1. The length, start time and end time of the looped item will be displayed as you drag the edge of the loop.

9ropping and .ooping:

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

!. 'ight click over the item and choose G/ue i%e)s. 1. ?ow drag the Cursor to e,tend the *tem. (ach loop point will again be indicated by a notch in the edges of the item. (,tend the loop as reHuired.

9$anging P/aybac( Ra%e:

There may be times when you will wish to change an item:s playback rate, for e,ample to keep it in sync. Taking the same e,ample as above, you would first display the 1%e) Proper%ies bo,, and most probably make sure that Preserve pi%c$ '$en c$anging ra%e was selected. Kou could then change the P/aybac( ra%e Afor e,ample, to !."E. This would have the effect shown here. The original item AloopedE as shown above has had its playback rate modified ArightE.

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Up and Running: A REAPER User Guide v 4.59

9rea%ing a .oop fro) a -i)e 6e/ec%ion
)nother way of creating a loop from only part of an item is to select the reHuired item, highlight the reHuired part of it as a time selection, right click, choose 9opy /oop of se/ec%ed area of i%e)s, remove the original, then paste in the loop in its place. This is shown here2 %. Delect first the source item, then select the area to be looped Asee aboveE. (ither press 9%r/ A/% . or right click and choose 9opy /oop of se/ec%ed area of i%e). Delect the track and position to which you want the item copied. Press 9%r/ V to paste in the area to be looped. Drag the cursor from the edge of the item as before to create the loop.

!. 1. &.

C.!

9rea%ing and =aviga%ing 'i%$ 3ar(ers

arkers are like bookmarks. They can help you when you are navigating, arranging and editing your pro@ects. arkers can be inserted at the current (dit Cursor position, whether or not the pro@ect is being played. Ac%ion 1nser%? 3ar(er command 1nser%? 3ar(er E pro)p% for na)eF command Rig$% c/ic( )ouse over )ar(er 6$or%cu% 3 6$if% 3 Effec% *nserts numbered arker at present position.

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

Heyboard and 3ouse 6$or%cu%s

Default Ceyboard and -o do %$is ... /o to marker % thru %". ove marker % thru %" to cursor position, or create new marker if no marker of that number e,ists. /o to ne,t marker3 pro@ect end or previous marker3 pro@ect start. To @ump to any marker. $ump to marker using the Transport >ar. Bpen (dit marker dialog Ae.g. to add or change marker name or change marker colorE. ake loop selection in '()P(':s main arrange view or in the *D* (ditor piano roll view. Delect area between the two markers. ove a marker. 'emove a marker. ouse Dhortcuts for creating and navigating with markers are2 3ouse&Heys%ro(e # thru " on main keyboard, not ?um Pad. 9%r/ # thru 9%r/ 9 and 9%r/ " W or V 9%r/ opens $ump To dialog. Type m and marker number G e.g. m! to @ump to marker !. Rig$% c/ic( on -ranspor% 5ar then u)p %o )ar(er 6$if% doub/e-c/ic( on )ar(er nu)ber. Type a new name, or click on 6e% co/or. 7oub/e-c/ic( on ru/er be%'een %'o )ar(ers 7oub/e c/ic( on %i)e/ine be%'een )ar(ers 9/ic( and drag )ar(er a/ong %i)e/ine A/% 9/ic( on )ar(er

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C - .oops? 3ar(ers and Regions

E4a)p/e
This e,ample illustrates the use of markers. >efore you begin, on the *p%ions menu, enable the option .oop poin%s /in(ed %o %i)e se/ec%ion. %. Bpen the sample file A// -$roug$ -$e =ig$%.RPP and immediately save it as A// -$roug$ -$e =ig$% 3ARHER6.RPP !. Play the song. $ust before the place where the vocal starts. Press 6$if% 3. =hen prompted, type as the name Verse # 6%ar% and press En%er 1. )t the end of the first verse, press 6$if% 3 again, name this marker Verse # End and press En%er. &. Create similar markers for the start and finish of Serse ! and Serse 1. These will be at or around %2"", %216, %2&R and !21P. Dave the file. P. Press # on your keyboard Anot the numeric keypadE. ?otice the edit cursor @umps to the start of Serse %. R. Press !. ?otice it @umps to the end of Serse !. #. Double click on the timeline ruler Anot the markers rowE between markers ! and 1. ?otice that this area is now looped and will play repeatedly. 6. 'ight click over the timeline and choose Qoo) se/ec%ion. Kou could now do any close editing work reHuired for this selection. Q. Press Esc to clear the selection, then 9%r/ Pg7n to restore the whole pro@ect to view. Dave the file.

C.A

-i)e 6e/ec%ion 6%ar%&End 3ar(ers

'()P(' treats the start and end of any current time selection as floating markers. The shortcut keys for Go %o ne4% )ar(er and Go %o previous )ar(er are W and V. These will also find the start or end of the current time selection and move the play cursor there. Kou can also right.click over the Go %o s%ar% button and enable the option Use %ranspor% $o)e&end for )ar(ers. The /o to start and /o to end buttons will now find the previous3ne,t marker or start3end of a time selection when one is current.

C.4

6napping %o 3ar(ers

Bptionally, 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 and3or end of the time selection Aif any such markers are presentE. Consider the portion of the 6nap&Grid 6e%%ings shown on the right. ?otice that snapping has been enabled, with a snap distance of %" pi,els defined. =ith snapping disabled, it can be Huite difficult to make a selection which starts or ends e,actly at a marker. =hen you attempt to make such a selection, you might end up with the selection shown in the first of the screen shots below. ?otice that the end of the selection doesn:t Huite match the marker. Mowever, in the second e,ample shown, with snapping enabled and the settings shown above, if you drag the selection to within %" pi,els of the marker position, the selection will automatically snap to the marker when you release the mouse. ?otice the effect of making e,actly the same selection with the above snap settings disabled AleftE and enabled ArightE. For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) %&Q

Up and Running: A REAPER User Guide v 4.59

E4a)p/e *n the first screen shot AbelowE, a pro@ect contains two markers, one at the start and one at the end of the pro@ect.

Duppose that you wish to reposition cursor there and then press 9%r/ !.

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

?ow let us suppose that you want to create arker & at the end of the song, reserving arker 1 for a position as yet unspecified. Kou can position the edit cursor at the end of the song and press 9%r/ 4.

C.5

Re)oving 3ar(ers

There are two main methods of removing unwanted markers. -o re)ove a sing/e )ar(er Position the mouse over the marker 7flag8 and hold down the A/% key while you click the left mouse button. )lternatively, you can right.click over the marker flag and choose Re)ove 3ar(er from the conte,t menu. -o re)ove a series of )ar(ers Define a time selection that includes all of the markers that you wish to remove. 'ight click over the space @ust above the marker 7flags8 within the time selection, and choose Re)ove a// )ar(ers fro) %i)e se/ec%ion from the conte,t menu.

C.@

3ar(er Ac%ions

any actions are available Ain the )ctions Oist (ditorE to help you manage markers. These include 3ar(ers: 7e/e%e )ar(er near cursor and 3ar(ers: Renu)ber a// )ar(ers in %i)e/ine order . Chapter %1 e,plains in detail more about actions and about how you can assign them to toolbars or to your own shortcut keys. -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 %P"

C - .oops? 3ar(ers and Regions

C.B 9rea%ing and Using Regions

'egions essentially take the idea of markers one step further. Kou can create regions for your pro@ects, making it easy to identify, select and work with different passages of a song. -o do %$is ... Create a new region from the current selection. To change name or other properties of the region. To specify a color for a region. ake the area of the region the current selection. 'emove a region. 3ouse&Heys%ro(es&9o))and 6$if% R or right click, 9rea%e Region fro) 6e/ec%ion 6$if% 7oub/e c/ic( on region icon. 6$if% 7oub/e c/ic( on region icon then 6e% co/or. 7oub/e c/ic( on region icon, or right click on region icon, 6e/ec% Region A/% 9/ic( on region icon

-o crea%e a Region fro) %'o e4is%ing 3ar(ers > %. ake sure the *p%ion for .oop poin%s /in(ed %o %i)e se/ec%ion is enabled. !. Double click on the timeline Anot the markers rowE between the markers to make the selection. 1. 'ight click and choose 9rea%e region fro) se/ec%ion. -o crea%e a Region fro) scra%c$ > %. Click and drag across the background area of the Track Siew to make the selection. !. 'ight click and choose 9rea%e region fro) se/ec%ion.

E4a)p/e of 'or(ing 'i%$ Regions

%. ake sure that the *p%ion for .oop poin%s /in(ed %o %i)e se/ec%ion is enabled. !. *n the file A// -$roug$ -$e =ig$% 3ARHER6.RPP, double click on the timeline between the first two markers. This causes this area to be selected. 1. 'ight click over the timeline, between the markers, and choose 9rea%e Region fro) 6e/ec%ion. &. Mold 6$if% while you double. click on the new regionIs icon to display the Edi% Region dialog. Type Verse # and press En%er. P. Double click on the timeline between markers three and four to select this area. Press 6$if% R to define a region. 'ight click over the icon for this region, choose Edi% Region, type Verse ! and press En%er. R. 'epeat this process using the area between markers five and si, to create a Serse 1 region. Ceep this region selected. #. Press 9%r/ with the J on the ?umeric Pad to <oom in on that region. 6. Press 9%r/ Pg7n to restore the whole pro@ect to the screen. Q. Press Esc to remove the current selection. %". Dave this file. ) number of handy actions are available Ain the )ctions Oist editorE to help you create and manage regions. These include 3ar(ers: 1nser% region fro) %i)e se/ec%ion and 3ar(ers: 1nser% region fro) se/ec%ed i%e)s as well as Regions: Go %o ne4% region af%er ne4% region finis$es p/aying . Chapter %1 e,plains in detail more about actions and about how you can assign them to toolbars or to your own shortcut keys. For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) %P%

Up and Running: A REAPER User Guide v 4.59

C.C -$e Region 3anager

The Vie'? Region 3anager command toggles the display of the region manager, used to manage regions and markers. This table shows how the region manager manipulates markers and regions using its buttons, its controls, and its conte,t menu Adisplayed by right.clicking on its title bar or in its background area.E -o do %$is > Renu)ber )ar(ers and regions in %i)e/ine order Go %o )ar(er or region and scro// in%o vie'. Au%o p/ay any region on se/ec%ion in region )anager. Edi% )ar(er&region na)e Edi% o%$er )ar(er&region da%a 6or% ro's in any order 7e/e%e a )ar(er or region 6$o'&no% s$o' regions or )ar(ers in Region 3anager 9$ange co/u)n order ,ide&6$o' co/u)ns *pen Edi% region&)ar(er dia/og bo4 9$ange region or )ar(er co/or Qoo) %o region or )ar(er Render regions as a separa%e fi/e eac$ Ea// %rac(sF > you do %$is Choose Renu)ber in %i)e/ine order from conte,t menu. (nable 6ee( p/aybac( '$en se/ec%ing a )ar(er or region on conte,t menu. (nable P/ay region %$ru %$en repea% or s%op '$en se/ec%ing a region from conte,t menu. Double.click on marker3region name in table then edit. Double.click on number, start time, end time or length to edit. Click on any column header, e.g. ?ame or Dtart time. *n the above e,ample, Dtart has been chosen as the sort column. Delect the marker or region in table and press 7e/e%e. 'emoves the region definition but not media content. Tick3untick 'egions and arkers options Atop rightE.

Click and drag column header left or right. 'ight click on any header, deselect3select from list. Double.click on region or marker name. Click on small color icon to left of marker3region number. Double.click on region or marker number. From conte,t menu choose 3ar( a// regions %o be rendered or click in 'ender column to select reHuired regions and choose 3ar( se/ec%ed regions %o be rendered from the conte,t menu, then use the Render 3a%ri4... button to open the Render 3a%ri4 window. Dee Chapter %6. )fter selecting region to be rendered, left click in 'ender column to select tracks. For details see Chapter %6. atri,

Render on/y se/ec%ed %rac(s 'i%$in regions? as separa%e fi/es E4por% )ar(er&region /is% as .%4% or .csv fi/e 1)por% regions&)ar(ers fro) .csv fi/e Erep/ace e4is%ingF 1)por% regions&)ar(ers fro) .csv fi/e E)erge 'i%$ e4is%ingF

Tick 'egions and3or arkers option bo,AesE, choose E4por% regions&)ar(ers... from conte,t menu, then type a file name, choose file type and click on 6ave. -se 1)por% regions&)ar(ers Erep/ace e4is%ingF command from conte,t menu, select file then click on *pen. -se 1)por% regions&)ar(ers E)erge 'i%$ e4is%ingF command from conte,t menu, select file then click on *pen.

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C - .oops? 3ar(ers and Regions

C.9 Pro:ec% 5ui/ding 'i%$ Regions

'egions can be used as a very powerful pro@ect building tool, especially when you are constructing a pro@ect from samples and3or loops. Two especially powerful features of regions are2 Drag and drop a region along the timeline to move a region:s entire contents. Mold 9%r/ while dragging and dropping to copy the entire contents of a region.

To illustrate this, take a look at the image above. =e have started building a pro@ect, with an introduction, then a verse Awhich has been made into a regionE, a chorus Aalso a regionE and a second verse. >y holding the 9%r/ key while clicking and dragging the icon for the Chorus region to the right, to the end of verse !, we are able to copy the entire chorus to that point Asee belowE.

?otice that any markers and time signature markers that are inside the region will also be copied or moved when the region is copied or moved. =o%e: Kou can also select a series of media items and create separate regions for each item in the selection. To do this, make your selection, then run the action 3ar(ers: 1nser% separa%e regions for eac$ se/ec%ed i%e). This action can be run from inside the )ctions window, and3or be assigned to a keyboard shortcut, and3or added to a toolbar, and3or added to one of '()P(':s menu G see Chapter %1 for more information.

C.#"

9$anging %$e Pro:ec% -i)ebase

Kou can select Time, >eats Aposition, length, rateE or >eats Aposition onlyE as the timebase for your envelopes, events and markers. To do this2 %. Press A/% En%er to display the Pro:ec% 6e%%ings window. Click on the Pro:ec% 6e%%ings tab. !. ake a choice from the -i)ebase for i%e)s&enve/opes&)ar(ers drop down list, then click on *H. Kou can also change the beat by clicking in the 5P3 bo, Aon the Transport >arE and entering a number.

C.##

3ar(ers and 3edia 9ues

*f you need to share your media files with other applications that use media cues Afor e,ample, Dound ForgeE you can convert your markers to media cues when rendering. File rendering is covered in detail in Chapter %6. '()P(' also has an option on the Siew menu Aenabled by defaultE to show media cues where they e,ist on imported media items. oreover, you can use the 1%e) Processing command to create markers within '()P(' for these media cues.

E4a)p/e
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%. !.

*n the screen shot shown above, our pro@ect includes a number of markers2 =e can now select the appropriate tracks and render the file Ausing the Fi/e? RenderE command, selecting the option 6%e)s Ese/ec%ed %rac(sF from the 'ender drop down list, 3ono channels, and ticking +ri%e )ar(ers as cues. *f the rendered files are later imported back into '()P(', we can see that the media items contains cues which correspond e,actly with the original markers. This is illustrated below. ?otice the series of vertical broken lines which indicate the positions of the media cues.

1.

&. *f we now select any of these media items then right click and choose 1%e) processing then 1)por% )edia cues fro) i%e)s as pro:ec% )ar(ers then a set of '()P(' markers and regions is automatically created for the pro@ect.

C.#!
C.#!.#

-e)po 5ased 3usic Produc%ion

-i)e 5ased 3usic 5asics

'()P(' incorporates a number of features which make it a good choice for tempo based music production. Dome of these elements Asuch as creating loops and various item propertiesE have already been mentioned in the conte,t of other uses. Bthers 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 seHuencing 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. Bne advantage that sampling has always had over *D* is sound Huality. There are any number of human performance techniHues and subtle variations that it are very difficult if not impossible to simulate with *D*. Mowever, until recently *D* held one big advantage over sampling. ) *D* track can easily be transposed without altering its tempo, and its tempo can be changed without affecting its pitch. This has not always been the case with audio. -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 %P&

C - .oops? 3ar(ers and Regions

Take the e,ample of drum loops. Bne of the biggest problems with using samplers to trigger drum loops has been that when the tempo changes, so does the pitch. Damplers change pitch by slowing things down or speeding things up. This means that as you play keys up and down your keyboard, you must at the same time handle the issue of beat changes. *t becomes almost impossible to get the e,act tempo you want without having to open the sampler and make ad@ustments to the loops. Today, however, there are available many tools that can do all this for you. The time and pitch altering tools that come with '()P(' use high Huality 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 '(; grooves automatically arrange themselves to the pro@ect tempo on import. >ring in a groove and it always fits the song. Take a set of items representing slices in a rhythmic groove, set their timebase to beats, and change the tempo .. magic+ They move all over the place but remain e,actly in rhythmic time according to the tempo. -sing '(; files you are able to play back loops at different tempos without altering the pitch. Kou:re on your way to being able to create drum loops and other sounds e,actly the way you want them, and with relatively little effort. Oater in this chapter we:ll have more to say about 'eCycle, and indeed about '()P(':s own dynamic splitting capabilities which puts this magic at your disposal. )fter dynamic splitting, @ust double click in the >P area of the transport bar, enter a number and, hey presto+ The whole track plays faster, or slower, in perfect pitch. =hat:s more, the whole track will speed up or slow down naturally, without glitches, pauses or stuttering.

C.#A

Pro:ec% 6e%%ings

>efore creating any music, you should make sure that your pro@ect settings are specified correctly. To display the pro@ect settings dialog bo,, press A/% En%er or choose the command Fi/e? Pro:ec% 6e%%ings> from the main menu. *n particular, check the following2 -nder Pro:ec% 6e%%ings, Pro@ect beats per minute. -nder Pro:ec% 6e%%ings, Time signature. -nder Pro:ec% 6e%%ings, Timebase for events. Kou can select Time, >eats Aposition, length, rateE or >eats Aposition onlyE. The former locks items to the timeline so that changes in tempo will cause items to be resi<ed and their play rate ad@usted. =ith >eats Aposition onlyE, the start of the item is locked to the beat, but the item contents are not affected or modified by tempo changes. -nder Pro:ec% 6e%%ings, Default pitch shift mode and parameter. 'emember that you can change the timebase for individual tracks Aright.click, 6e% %rac( %i)ebaseE and for individual media items AF!, *tem timebaseE. Kou can also change properties such as >eats per inute and Time Dignature as often as needed during the song. For e,ample, you can increase the tempo for one passage then restore it to its original setting at the end of that passage. Dhortly we will see an e,ample of how this is done.

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C.#A.# Audio 3edia 1%e) Proper%ies

Kou can record your own media items or import them from e,isting files. Kou can also change various properties such as playback rate and pitch for individual media items. Kou can specify parameter settings for individual media items and3or for selection of items. For e,ample, if you wish to change the pitch or playback rate for several items you can select those items and press F! Aor right click anywhere in the selection and choose the 1%e) proper%ies> commandE. *n the e,ample shown, we are increasing the playback rate for the selected items by PL and preserving the original pitch. ?otice that you can override the pro@ect default pitch shift mode if you wish. Kou may find that different algorithms work better with different kinds of audio item Asuch as vocal, snare, kick or bass guitarE. ore information about time stretching can be found in the section -i)e and Pi%c$ 3anipu/a%ion.

C.#A.!

9rea%ing a .oop fro) a -i)e 6e/ec%ion

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

C.#A.A

9rea%ing a .oop fro) -ransien%s

)nother method of selecting the area reHuired for your loop is to use the transients in an e,isting media item. The following actions are @ust some of the many that can be found within the )ction Oist (ditor AChapter %1E. =here no e,isting keyboard shortcut e,ists, you can assign your own if you wish. *tem navigation2 ove cursor to nearest transient in item *tem navigation2 ove cursor to ne,t transient in item *tem navigation2 ove cursor to previous transient in item Time selection2 (,tend time selection to ne,t transient in items 9%r/ -ab -ab 6$if% -ab

)ssuming that you are using the default key bindings shown above, and that 9%r/ A/% -ab has been assigned to E4%end %i)e se/ec%ion %o ne4% %ransien% in i%e)s, you can select the item, navigate e,actly from transient to transient and select the e,act area reHuired. Kou can select the item, copy and paste it elsewhere, then right click over it, choosing 9opy /oop of se/ec%ed areas of i%e)s from the conte,t menu. These are @ust a few of the actions and commands that can be used to suit your own method of working when creating your tempo.based pro@ects. (,plore the others and get to know them. They include2 9opy se/ec%ed area of i%e)s -ri) i%e)s %o se/ec%ed area 6p/i% i%e)s a% prior Dero crossings

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C - .oops? 3ar(ers and Regions

C.#A.4 -ransien% 7e%ec%ion 6e%%ings

The command Vie'? -ransien% 7e%ec%ion 6e%%ings causes the window shown here to be displayed. This can be used to make your transient detection sound more natural and human, by introducing subtle variations in sensitivity and3or volume threshold. (nabling the <ero crossings option will help to prevent unwanted clicks from occurring.

C.#A.5

5ea% 9orrec%ion

'()P(' includes many actions to assist you with beat detection and beat correction. There are actions to detect tempo, create measures from time selections, e,tend or swap time selections to the ne,t transient, and more. Dome of them are on the conte,t menus and all of them are in the )ction Oist. )ny action can be assigned shortcut keys, run from the action list window itself, and3or added to '()P(':s Ac%ions menu. ore information about the )ction Oist can be found in Chapter %1. Mow you string these actions together is up to you. Mere is an e,ample. Kou might have a live performance that was not done to a click. *t is a simple process to go thru the track and manually tempo.map the whole performance. =e:re going to assume that you are using the following keyboard assignments2 -ab *tem navigation2 ove cursor to ne,t transient in items. 9%r/ A/% -ab Time selection2 Dwap left edge of time selection to ne,t transient in items 9%r/ 6$if% A/% -ab Time selection2 (,tend time selection to ne,t transient in items.

E4a)p/e
*n the e,ample shown here, we have used our shortcuts to create and e,tend e,tend the selection out, as reHuired.

=e then instruct '()P(' to 9rea%e )easure fro) %i)e se/ec%ion Ede%ec% %e)poF. =e could do this either from the timeline:s conte,t menu or using a keyboard shortcut. =e then use our keyboard shortcuts to capture the ne,t time selection reHuired, again using that time selection to create a measure with '()P(' auto detecting the tempo.

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

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>y right clicking over the timeline we display the conte,t menu Asee left and belowE and select the command 9rea%e )easure fro) %i)e se/ec%ion Ene' %i)e signa%ureF. This causes the Edi% -i)e 6igna%ure dialog bo, to be opened, which you can edit at will then click on *H. This process can then be repeated up to the end of the performance.

C.#A.@

Puan%iDing 1%e)s

'()P(' allows you to Huanti<e your audio items. This essentially means lining them up according to the pro@ect tempo or time signature. Kou might have a situation in which you have copied and pasted a sample several times within a track Aor across several tracksE and you need to ensure that they are correctly aligned. To ensure that all items are aligned to the beat, you simply do this2 %. Double.click on the track in the Track Control Panel to select all the media items in the track. )lternatively, you could right click drag with your mouse to marHuee or 9lasso9 them. !. 'ight click over any of the items, then choose 1%e) Processing then Puan%iDe i%e) posi%ions %o grid. This causes the Puan%iDe 1%e) Posi%ions dialog bo, to be displayed. 1. Dpecify your reHuired parameters, including the note length setting A%36, %3&, %3!, %, !, etc.E and whether you want the items stretched to fit. )n e,ample is shown on the right. &. Click on Process for the Huanti<ing to be done. *n the e,ample above, the option to also Huanti<e item ends and stretch to fit was enabled.

C.#4

7yna)ic 6p/i%%ing

Dynamic splitting is a very powerful feature which has a number of applications. Kou have already seen Ain Chapter RE how it can be used to remove silence. For e,ample you might have recorded a pretty good bass line that you:d like to use for a song. aybe it was recorded at QR beats per minute. The timing might be a bit out at times but on the whole you:re pretty pleased with it. The trouble is that you want to use %!" beats per minute for your new song. Mere:s another e,ample. aybe you:ve recorded a killer slide guitar track. Kou 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 Aor selection of media itemsE according to criteria that you specify. >asically it works like this2 Kou first select the media item Aor itemsE to be split. Kou right click over the item and choose 1%e) processing? 7yna)ic sp/i% i%e)s> from the menu. This causes the 7yna)ic sp/i% i%e)s dialog bo, to be opened.

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C - .oops? 3ar(ers and Regions

Kou 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 9shadow splits9 your selected itemAsE. That is to say, it indicates with a row of colored bars e,actly all of the points at which the item will be split if the parameter settings are left as they are. Kou make such ad@ustments as you wish to the parameter settings until satisfied that they are right. Kou tell '()P(' to go ahead and split the items.

Bnce split, each slice of the original item will be set to the current timebase. Kou can set any of the splits to any other timebase you choose. Kou can use the items together or individually, according to your needs. Duddenly you:ve got a whole library of samples+ Dynamic splitting is non.destructive. This means that your original audio files A=)S, P1, )*F or whateverE remain intact. ?evertheless, if you are going to use this method to build a sample library, it:s often a good idea to work on a copy of the original track. This @ust makes it easier to go back to the original if you wish to use it to make a fresh set of samples. Oet:s now take a look at an e,ample or two.

C.#4.#

6p/i%%ing a 3edia 1%e) in%o 6a)p/es

*n the e,amples below, a recording of a resonator guitar is selected. =e have then chosen 1%e) processing then 7yna)ic sp/i% i%e)s from the conte,t menu. Dtudying these e,amples will help you to understand how the settings work. *n every case, the A% %ransien%s option should be enabled. These e,amples should be sufficient to get you started. )fter that, it:s up to you to e,periment according to your particular needs. E4a)p/es Bnly a minimal number of options are used here. *f you specify a very low minimum slice length '()P(' will seek out transients with a high degree of sensitivity. This will result in our media item being split into a very large number of items. This might be suitable, for e,ample, if we are intending to introduce tempo changes to the song. The larger the number of samples and the shorter their length, the more sensitive and immediate will be the track:s response to any such changes. Consider the two e,amples shown. ?otice ArightE that 5es% %o 'ors% has been selected as the method for constraining slice length. This option is likely to be preferred when splitting at For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) %PQ

Up and Running: A REAPER User Guide v 4.59

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

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

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C - .oops? 3ar(ers and Regions

C.#4.! 9$anging %$e Pro:ec% -e)po

Bnce 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 seHuence2 %. 'ight click over the timeline and choose 1nser% %i)e signa%ure )ar(er> from the conte,t menu. Dpecify your reHuired changes in >eats per inute or time signature. *f you wish, you can select the option for a gradual tempo transition between markers. 1. Click on *H.

!.

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

C.#4.A

9rea%ing a 9$ro)a%ic 3171 1%e)

=hen dynamic splitting you can select the option to 9rea%e c$ro)a%ic 3171 i%e) fro) s/ices.

This causes a *D* item to be created that creates one *D* event for each slice, moving up the chromatic scale. Bne common application of this is for sample triggering. Duppose that you have a groove that you have assembled from various items from different sources. Kou can now create chromatic midi from the items and then load those items into a sample player, each mapped to the ne,t note in seHuence. The midi will then play the groove. oving the midi notes around changes the groove. *t is also Huite easy to swap out e,actly what it is that is being triggered. )nother e,ample is hit replacement. Kou can dynamic split a drum part, creating chromatic midi from it. Kou then have one velocity.sensitive midi note for each hit. *t:s then a straightforward @ob to delete a bad hit and use the midi note to trigger a drum sample. )lternately, you can use the whole midi track to trigger a drum sample to double a recorded part Athereby fattening itE. The chromatic *D* item can, of course, be edited like any other *D* item with the *D* (ditor, and used to play any synthesi<er or sample player. ) comprehensive section on using the *D* (ditor can be found later in this -ser /uide, at Chapter %!.

C.#4.4

6aving and Using 6a)p/es

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

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C.#5 RE8 Fi/e 6uppor%

'(; files consist of sets of groove slices. They are created in and e,ported from a program called Recyc/e for the purpose of being used in the creation of tempo based music. Kou can import these files into '()P(' either using the 1nser%? 3edia command or by dragging and dropping from the edia (,plorer. =hen you do this, they will automatically position themselves according to the current tempo. Bnce you have imported your '(; files into '()P(', you can manipulate and use them in e,actly the same ways as you can use other media items that have had dynamic splitting applied within '()P('. For e,ample, imported '(; slices can be made to keep their beat location even if the pro@ect tempo is changed. *n your Preferences settings, under 3edia? Video&RE8&3isc there are a number of options available for determining how your '(; files behave. Kou can choose to import '(; files as 5ea% s/ices %$a% dyna)ica//y ad:us% %o %e)po c$ange or as A sing/e /oopab/e i%e) a% %$e curren% pro:ec% %e)po , or ask '()P(' to A/'ays pro)p%. Kou can also specify '(; tail behavior as any of Preserve a// s/ice %ai/s, 9$op a// bu% %$e fina/ s/ice %ai/. 9$op on/y %$e fina/ s/ice %ai/, or 9$op a// s/ice %ai/s The )ction list also includes a useful action 1%e): e4p/ode RE8 i%e) in%o bea% s/ices. This can be assigned its own shortcut key if you wish.

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9 - Pi%c$ and -i)e 3anipu/a%ion 9

9.#

Pi%c$ and -i)e 3anipu/a%ion

9$anging Pi%c$ for 1ndividua/ 3edia 1%e)s

The pitch of any item can be changed from the 3edia 1%e) Proper%ies dialog bo,. The pitch is measured in semitones. Kou can enter a number to raise or lower the pitch of any item by that number of semitones, or you can type in a multiplier, such as 4#.5. ?otice that there is a drop down list that you can use to select your preferred Pitch shifting 3 Time stretching algorithm. Choices are2 Pro@ect default Afrom Pro@ect DettingsE. DoundTouch. Dirac O( Abetter Huality, more CPintensiveE. Dimple windowed. XlastiHue !.!6 Pro AbestE. XlastiHue !.!6 (fficient Aless resource intensive than elastiHue ProE. XlastiHue !.!6 DBOB*DT Asuitable for monophonic itemsE. *f you choose one of these YlastiHue 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 elastiHue, go to the <plane web site $%%p:&&'''.Dp/ane.de&inde4.p$p. To open the 3edia 1%e) Proper%ies dialog bo, for any item, first select the item, then press F!. The default algorithm is determined by your Pro@ect Dettings. Ceyboard shortcuts allow you to easily and Huickly change the pitch of any selected item or group of items without needing to open the edia *tem Properties bo,2 Heyboard 6$or%cu% 6$if% 9 6$if% B 6$if% " 6$if% C 7escrip%ion ove pitch down one semitone. ove pitch down one cent. ove pitch up one semitone. ove pitch up one cent.

Kou can also use a take pitch envelope for pitch changes. 'ight click on the take Aor media item if only one takeE and choose -a(e? -a(e pi%c$ enve/ope from the menu. For more adventurous pitch shifting escapades you can try using one of the pitch manipulation plug.ins that are supplied with '()P('. Dimply open the F; window for a track, click on Add, then in the filter list type pitch to display a list of what is available. Dhown here is the 6 Pi%c$: *c%avedo'n plug.in. Bther $D pitch shift plug.ins include fft.ps, mdct.shift, octaveup, pitch!, pitchdown and superpitch. These are each suited to particular tasks, but the most powerful of the available pitch shift plug.ins is ReaPi%c$. For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) %R1

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9.! Using ReaPi%c$

Dimply insert the SDT 'eaPitch plug.in into a trackIs F; chain and you have a powerful pitch manipulation tool at your disposal. For e,ample, you can use 'eaPitch to create vocal harmonies. The first illustration ArightE shows 'eaPitch inserted into the F; chain for a vocal track. The (lastiHue Doloist algorithm has been selected, together with the onophonic parameter. ?otice that the pitch has been shifted down by !P cents and the effect panned P"L right. *n the second illustration, you can see that we have added a second shifter, this time taking the pitch up by !P cents and panning the effect P"L left, thus creating an e,tra harmony. ?otice also that in the second illustration we have also ad@usted the panning and the mi, of the wet and dry signals to produce a more pleasing overall effect.

Pi%c$ 6$if%ing and 9$anne/ 6p/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('Is channel splitting capabilities. These are e,plained in some detail in the section 3ore REAPER Rou%ing E4a)p/es Aand elsewhereE. Oook especially at the e,ample headed 9$anne/ 6p/i%%ing and Pi%c$ 6$if%ing. =ith channel splitting, you can, for e,ample, not only create several vocal harmonies, but also apply different F; plug.ins or plug.in chains Asuch as 'everb or DelayE to each of your different harmonies.

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9 - Pi%c$ and -i)e 3anipu/a%ion

9.A Using ReaPi%c$ 'i%$ 3u/%ip/e -rac(s

=eIve already looked at how '()P(' can send audio streams from one track to another. OetIs now have a look at how this feature might be used with 'eaPitch.

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

9.4

1ns%ru)en% -uning 'i%$ Rea-une

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

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Up and Running: A REAPER User Guide v 4.59

9.5 Pi%c$ 9orrec%ion 'i%$ Rea-une

The plug.in Rea-une can be used for pitch correction. *t can be used in either manual or automatic mode. *n either mode, YlastiHue DBOB*DT is a suitable algorithm. )utomatic mode is illustrated top right. To apply it, first insert the Rea-une plug.in into a trackIs F; window. Kou should then2 Delect the page headed 9orrec%ion. (nable the Au%o)a%ic pi%c$ correc%ion option. Delect the reHuired algorithm and parameter. Dpecify the correct key and play. 'eaTune will then do the rest for you+ anual mode is illustrated below right. To use it, first insert the Rea-une plug. in into a trackIs F; window. Kou should then2 Delect the page headed 3anua/ 9orrec%ion. (nable the 3anua/ pi%c$ correc%ion option, and other options as preferred. (nable or disable the other options as reHuired. These are Upda%e, Preven% oc%ave s$if%s, and Preven% over/apping seg)en%s. -se your mouse Aclick and dragE to draw your corrections. Kou can also 9/ear the display at any time.

9.@

9$anging %$e Pro:ec% P/ay Ra%e

Kou can ad@ust the play rate for the whole pro@ect, using the Transport >ar. The pro@ectIs default pitch shift mode will be applied. Kou can use any of these methods2 Click in the Ra%e edit bo, and type a new value Ae.g., to speed up by %"L type %.%E Mover the mouse over this edit bo, and scroll the mousewheel, up to increase play rate or down to decrease it. -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 %RR

9 - Pi%c$ and -i)e 3anipu/a%ion

Drag the hori<ontal fader to the immediate right of the play rate edit bo,. *n addition to these methods, you can right click over the same edit bo, or the play rate rotary control and select one of the options from the menu.

?otice that from the menu you can2 'eset the playrate to %.". *ncrease or decrease the playback rate by any of the values listed. (nable or disable the option to Preserve pi%c$ in audio i%e)s '$en c$anging )as%er p/ayra%e . )pply play rate to the current >P . Det the playrate fader range according to any of the available options. =o%e: *f the playrate fader is not visible in your transport bar, you can display it by right.clicking over any part of the Transport >ar background and selecting the option to 6$o' p/ay ra%e con%ro/.

9.B

-i)e 6%re%c$ing

The -a(e proper%ies and -a(e pi%c$ s$if%&%i)e s%re%c$ )ode sections of the 3edia 1%e) Proper%ies dialog bo, AF!E can be used to stretch or shrink the time for an item. To do this, ad@ust the P/aybac( Ra%e. *n the e,ample shown ArightE, playback rate is increased by !L and the option to Preserve Pi%c$ has been selected. XlastiHue !.% Pro has been selected for the algorithm to be used. To open the *tem Properties dialog bo, for any item, first select the item, then press F!. To make the same change for a number of items, do this2 %. Delect all of the reHuired items. !. Press F!. 1. =hen the 3edia 1%e) Proper%ies dialog bo, appears, identify those properties where changes can be made to several items at once. These include pitch ad@ust and playback rate Asee aboveE. &. ake your changes and click on *H. =hen the edia *tem Properties dialog is opened for more then one item at once, some of the options will been dimmed and are not available when setting properties for multiple items. Asuch as Take envelopes and 'ename fileE. ost options, however, are available. )nother method that you can use to ad@ust the playback rate of any media item Aor selected group of media itemsE is this2 %. Delect all the reHuired items. For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) %R#

Up and Running: A REAPER User Guide v 4.59

!. 1. Mover mouse over the end of one of the items until it turns to a double.headed arrow, as you would for slip.editing. Mold down A/%, click and drag mouse, left to increase playback rate, right to slow it down. 'elease the mouse when finished.

?otice that if you have enabled the option 7isp/ay )edia i%e) pi%c$&p/ayra%e if se% APreferences, )ppearance, ediaE any changes to Pitch or Playback 'ate will be displayed on or above the edia *temAsE in )rrange Siew.

9.C

6%re%c$ 3ar(ers

Dtretch markers can be used to speed up or slow down part of an item or selection or group of items. They can be inserted at the current play cursor position or at the start and end of a time selection. -nlike standard pro@ect markers Awhich apply to the pro@ect as a wholeE, stretch markers are only applied to the itemAsE selected at the time they are inserted. >y dragging these markers left or right, the tempo of these items can be changed. To create stretch markers, follow this seHuence2 Position the play cursor at the point where you want to insert a single marker, or make a time selection starting and ending where you wish to insert two stretch markers. Delect the item or items to which you want the markerAsE to be added (ither right click over a selected item, or choose 1%e) from the main menu. Choose 6%re%c$ )ar(ers then either Add s%re%c$ )ar(er a% curren% posi%ion to insert a single marker or Add s%re%c$ )ar(ers a% %i)e se/ec%ion to insert a pair of markers at the start and end of a time selection. Dtretch markers can then be dragged left or right with the mouse to ad@ust timing. Molding 6$if% A/% while dragging the first of a pair of stretch markers will move both markers together, preserving the distance and timing between them. Bther modifier keys are listed on the table on the ne,t page. eanwhile, here are some e,amples showing how stretch markers can be manipulated. ) stretch marker is inserted in this item at the position shown.

)s it is dragged left, timing is made faster before Aleft ofE the marker and slower after Aright ofE the marker.

*n this second e,ample, stretch markers are added at a time selection. Oeft marker dragged right to speed up area between markers, slowing down area before. ?otice new stretch markers are automatically added to the left and at the start of the item. The same marker is dragged back left as Dhift )lt are held. Timing before the marker changes but the timing between the original two markers does not change, as both markers and the area between them are dragged together. Dtretch markers can be snapped to grid using 6nap s%re%c$ )ar(ers %o grid or 6nap s%re%c$ )ar(ers 'i%$in %i)e se/ec%ion %o grid from the 6%re%c$ )ar(ers menu. -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 %R6

9 - Pi%c$ and -i)e 3anipu/a%ion

) stretch marker can be removed by holding A/% while clicking on it. arkers can also be removed using either of the 6%re%c$ )ar(ers commands Afrom the conte,t menuE Re)ove a// s%re%c$ )ar(ers or Re)ove a// s%re%c$ )ar(ers 'i%$in %i)e se/ec%ion. 'emoving stretch markers will cause an item:s timing to revert to what it was before the markers were added. To make any changes to the item permanent, instead of removing the stretch markers manually you can G/ue the item Afrom the item conte,t menu, or the main 1%e) menuE. =here a number of items have been selected, markers will be added to the items in that selection. )s long as they remain selected, moving one marker in the selection will also move the others. This can be over.ridden by holding 9%r/ while dragging the marker. =here items have been grouped, markers added to one item in the group will also be added to other items in that group. >y default they will be moved together when one is moved. This can be over.ridden by holding 9%r/ when dragging the marker. /rouping items is e,plained in Chapter R. The following e,ample shows how stretch markers can be used with grouped items.

These two items have been grouped. Delecting and adding stretch markers to either item causes the markers to also be added to the other.

)d@usting the marker position for one item by default makes the same ad@ustment on other items in the group.

Sarious modifier keys can be used in con@unction with your mouse to modify the behavior when a stretch markers are dragged. These defaults can be changed by selecting edia item stretch markers on the ouse odifiers page of '()P(':s preferences Asee Chapter %1E.

7efau/% 3ouse 3odifiers '$en dragging s%re%c$ )ar(ers

EnoneF 6$if% 9%r/ 6$if%J9%r/ A/% 6$if%JA/% 9%r/JA/% 6$if%J9%r/JA/% ove stretch marker. ove stretch marker ignoring snap. ove stretch marker ignoring selection3grouping. ove stretch marker ignoring snap and selection3grouping. ove contents under the stretch marker. ove stretch marker pair. ove contents under the stretch marker ignoring selection3grouping. ove stretch marker pair ignoring snap.

*n addition to the commands and mouse actions e,plained above, please note that2 The *tem Properties dialog bo, includes an option to optimi<e stretch markers for tonal content. The 7yna)ic 6p/i% 1%e)s dialog Asee chapter 6E has an option to Rep/ace s%re%c$ )ar(ers. *f selected, e,isting stretch markers will be removed from the itemAsE and replaced with dynamic splits according to the dialog bo, settings. Deveral Ac%ions are available for managing and working with stretch markers, for e,ample to go to the nearest, ne,t or previous stretch marker. For more information about '()P(':s )ctions and )ctions (ditor, see Chapter %1.

For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) %RQ

Up and Running: A REAPER User Guide v 4.59

9.9 Using -i)e 6igna%ure&-e)po 9$ange 3ar(ers

The default pro@ect >eats per inute and Time Dignature for any pro@ect are determined by the values assigned in the Pro:ec% 6e%%ings window. Kou can change this for the entire song by any of these methods2 Display the Pro@ect Dettings window AA/% En%erE and change it there, or Press + to return the edit cursor to the start of the song, then either ... Type your new value in the >P edit bo, or Time Dignature edit bo, on the transport bar, or ... Mover your mouse over the >P edit bo, on the transport bar and scroll the mousewheel up or down Asee rightE. *f you wish to make time signature or tempo changes within a song, your Pro@ect Dettings should use the default setting 5ea%s Eposi%ion? /eng%$? ra%eF. The pro@ect tempo map envelope can be used for changes Asee Chapter %RE. This works for the most part @ust like any other automation envelope. ?ote, however, that editing multiple points at once on this envelope causes each point to be ad@usted pro rata, not by a constant >P value. Kou can make changes within a song, by inserting a Time Dignature3Tempo Change arker. This changes the beat after the marker position. To change these at any current cursor point, use the >P or time signature edit bo, in the transport bar, or2 %. Position the edit cursor at the reHuired place in the song. !. From the menu, choose the 1nser% command, then -i)e signa%ure&%e)po c$ange )ar(er Aor press 6$if% 9E. 1. Dpecify your reHuirements in the dialog bo, ArightE. )vailable choices include 5P3, whether to Gradua//y %ransi%ion %e)po %o ne4% )ar(er, 6e% %i)e signa%ure and A//o' a par%ia/ )easure before %$is marker. &. Click *H. Time Dignature markers can later be modified, for e,ample by editing Adouble.click on markerE or moving them Adrag and dropE. ?ote, however, the following2 Tempo3time signature markers are always pinned to beat position rather than time. anually editing time signature markers reHuires them to be placed at the start of a measure. =ith snap enabled AChapter RE, time signature changes snap to bars, tempo changes snap to beats. =ith snap disabled AChapter RE, moving time signature markers will modify the preceding tempo if necessary to ensure that the pro@ect contains only complete measures. Time signature changes that truncate the previous measure are marked with a Y. Time signature correction may be problematic when a pro@ect contains linear tempo transitions. Bne tempo3time signature marker cannot be moved past another. ?otice that your 'uler conte,t menu includes a number of other commands relating to pro@ect tempo and measure G these are shown on the right. ?ote also that the Preferences? Audio 6ee(ing page includes the toggle option P/aybac( posi%ion fo//o's pro:ec% %i)ebase '$en c$anging %e)po G see Chapter %Q.

-nlock your inner '()P(' with REAPER 4 Un/eas$ed2 %#"

#" - -$e REAPER 3i4er and 3as%er #" -$e REAPER 3i4er and 3as%er
#".# 1n%roduc%ion
-p until now, most of the emphasis has been on working in Track Siew. This is hardly surprising, as that is the area where you will find yourself spending most of your time Aat least with audioE and doing most of your work. )s your mi, progresses, however, you will find that the '()P(' i,er begins to assume more importance. The contents of this section should help you to familiarise yourself thoroughly with the '()P(' i,er and its various features and capabilities. Kou will also learn more about how to get the best out of the '()P(' aster. i,er display is toggled on and off using the Vie'? 3i4er command A9%r/ 3E.

#".!

3i4er 9o))ands

The i,er menu is shown by right.clicking over the title bar or any any vacant area of the mi,er window, or by clicking over the word 7 aster8 on the aster track Asee rightE, or Awhen dockedE right.clicking on the i,er tab in the docker. This menu offers you a great deal of fle,ibility as to how the mi,er is displayed. For e,ample, you can choose whether or not you wish to display Aand be able to manageE your F; and sends in the mi,er. The main mi,er layout options are summari<ed in the table overleaf. Kou can also access the TCP conte,t menu in i,er view by right.clicking over any track name or number.

#".A

3i4er .ayou%s and 6creense%s

*f the commands on the i,er menu let you select what is displayed in the mi,er, then mi,er layouts let you decide how it is displayed. The chapter immediately after this one, Chapter %% . Pro@ect anagement Features, covers the topic of layouts ATCP and CPE in more detail, but for now note the following2 Oayouts are created and saved with, and attached to, individual color themes, not within '()P(' itself. )n e,ample of a compact mi,er layout is shown here AleftE. Ceep in mind that the theme that you are using might not include this e,act same layout. To select a theme, use the *p%ions? -$e)es command. Oayouts can be accessed by choosing 6e% -rac( .ayou% then 3i4er Pane/ from the TCP conte,t menu, or *p%ions? .ayou%s from the main menu, or by the Vie'? 6creense%s& .ayou%s command, then selecting the .ayou%s tab. i,er layouts are assigned on a per track basis. *f using the conte,t menu, you should first select the tracks for which you want the layout assigned. *f using the Dcreensets3Oayouts window you can choose to apply the layouts globally or to selected tracks only. >efore getting too involved with using layouts, however, it will pay you to familiarise yourself with the i,er menu commands and what they do.

For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) %#%

Up and Running: A REAPER User Guide v 4.59

#".4 3i4er 3enu 9o))ands and *p%ions
7escrip%ion Oeads to a sub.menu of toggle options for 6$o' in )i4er 6$o' on rig$% side of )i4er 6$o' in separa%e 'indo' 6$o' in doc(er aster Track2

9o))and 3as%er -rac(

The Vie'? F/oa%ing 3i4er 3as%er command Afrom '()P(':s main menuE can also be used to toggle the floating of the i,er aster in its own window. 6$o' fo/ders 6$o' nor)a/ %op /eve/ %rac(s 6$o' %rac(s %$a% are in fo/ders 6$o' %rac(s %$a% $ave receives 6cro// vie' '$en %rac( ac%iva%ed Au%o-arrange %rac(s in 3i4er Determines whether track folders are shown. Determines whether tracks not in folders are shown. Determines whether tracks in folders are shown. Determines whether tracks with receives are shown. *f there is not sufficient room in i,er view to display all tracks, the mi,er will scroll to follow the TCP track selection. i,er track order will follow any changes to track order made in the TCP. Disable this if you want to arrange tracks in a different order in the CP and TCP. Places track folders to the left. This can be useful at times in bringing all your submi, folders, but confusing at other times for separating folders from their child tracks. Places all tracks with receives to the left. (specially useful if the only tracks with receives are all buses. (nables folders to be opened3closed to show3hide child tracks. Dhows tracks displayed in up to three rows when tracks will not fit in one row and the mi,er window has sufficient height. Causes tracks to be displayed in as many rows as will fit in the track height, regardless of how few tracks there are. Displays a Dends bin above the track controls. Displays an F; chain area above the track controls. Dhows F; parameter controls2 right.click on any of these to assign control to an F; parameter. Track icons Aif usedE will be shown in tracks in the mi,er. Displays the last track in folder icon for last track in folder. Docks the mi,er in the '()P(' docker. Closes the i,er view.

Group fo/ders %o /ef%

Group %rac(s %$a% $ave receives %o /ef% 9/ic(ab/e icon for fo/der %rac(s %o s$o'&$ide c$i/dren 6$o' )u/%ip/e ro's of %rac(s '$ere siDe per)i%s 6$o' )a4i)u) ro's even '$ere %rac(s 'ou/d fi% in /ess ro's 6$o' sends '$en siDe per)i%s 6$o' F8 inser%s '$en siDe per)i%s 6$o' F8 para)e%ers '$en siDe per)i%s 6$o' %rac( icons in 3i4er 6$o' icon for /as% %rac( in fo/der 7oc( 3i4er in 7oc(er 9/ose

-ip: Double.click on any track panel in the i,er to toggle on and off <oom to track in the TCP. This behavior can be changed on the 3ouse 3odifiers page of your preferences Asee Chapter %1E. Kou can also use the 3ouse 3odifiers page to add further actions of your own. For e,ample, you could assign 9%r/ 7oub/e-c/ic( to the action -rac(: 6e% %o cus%o) co/or > Mow to assign your own actions is also e,plained in Chapter %1. -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 %#!

#" - -$e REAPER 3i4er and 3as%er

#".5 6$o'ing and ,iding -ypes of 3i4er -rac(s

Take as an e,ample the above pro@ect. *t has two folders Aor parentsE . Socals and *nstruments, containing two and three child tracks respectively . and one top level track, called 'everb. There are sends from the two folders to the 'everb track Awhich acts as a busE, and most of the tracks have some F; in them. The first five of the T6$o'U commands on the i,er menu are used to determine which types of track are displayed in the mi,er. The si,th 7Dhow8 command determines whether the master is shown on the left or the right. *n the e,ample shown here we might have reached a stage in our mi,ing where we are happy with the balance within our submi, folders and want to focus on getting the balance between the submi,es and the level of our vocal and instrument folders and our reverb buss @ust right. *n this case, we would elect not to show tracks that are in folders, but to show only folders, tracks that have receives and our master track Aon the rightE. The e,ample pro@ect shown here is a simple one2 imagine how useful this feature might be if you were working on a pro@ect with perhaps R" individual tracks inside perhaps a half do<en submi, folders and with maybe another half do<en buses+ *n that case, you might also find one or more of the 7/roup to left8 commands could also be handy. The i,er menu does not have the facility to specifically hide or unhide named individual tracks. Mowever, this can be done using the Track anager. The Track anager will be e,plored and e,plained in Chapter %%.

#".@

+or(ing 'i%$ F8 in %$e 3i4er

*f you wish, you can do @ust about all of your F; management working in i,er view. Kou can add F; to tracks, move or copy them from one track to another, open the F; window for any plug.in, or open the track:s F; chain for more complete F; control. For this to be possible, though, you need to enable on the i,er menu the option 6$o' F8 inser%s '$en siDe permits. The table below summari<es these and other activities.

For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) %#1

Up and Running: A REAPER User Guide v 4.59

1n order %o do %$is ... 9$ange %$e order of p/ug-ins in %$e F8 9$ain. 9opy F8 fro) one %rac( %o ano%$er Esi)i/ar %o -rac( Vie'F. 7isp/ay F8 con%e4% )enu 7isp/ay %$e Add F8 'indo'. 7isp/ay %$e F8 c$ain and %$e con%ro/ 'indo' for %$a% p/ug-in. 3ove F8 fro) one %rac( %o ano%$er. *pen and f/oa% a p/ug-inNs con%ro/ 'indo'. Re)ove a p/ug-in fro) F8 9$ain. Re)ove a// p/ug-ins fro) a %rac(Ns F8 9$ain. -ogg/e off/ine s%a%us of a p/ug-in. -ogg/e bypass s%a%e for a p/ug-in. > you do %$is 7rag and drop up or down the order. 7rag and drop F8 to F; area on another track. Rig$% c/ic( on any displayed plug.in name. 9/ic( in any vacant area of the F; area. 9%r/ c/ic( on any displayed plug.in name. A/% drag and drop to another track. 9/ic( on the plug.in name. A/% c/ic( on plug.in name. A/% c/ic( on trackIs F; button. 9%r/ s$if% c/ic( on plug.in name. 6$if% c/ic( on plug.in name.

*n addition, right clicking over the F; area of any track in the i,er produces a conte,t menu as shown on the right. *f you click over an empty part of the F; area then some commands Asuch as F/oa% F8 configura%ionE will not be available. *f you right click over an actual plug. in name then you will be presented with the full menu. Kou can use this for any of the following2 Add F8... Bpens F; browser for you to select and add any installed F; plug.inAsE, Puic( Add F8 Displays a sub.menu of recently used F;2 you can select any item from this menu to add to the track:s F; chain. Add F8 9$ain Displays a menu of F; chains, any of which you can select and insert in this track. F/oa% F8 configura%ion Bpens the F; window for the selected plug.in. 6$o' F8 c$ain Bpens F; chain for the track2 same as clicking on the track:s F; button. 5ypass c$ain Dets F; chain for this track to bypass. Dame as clicking on the track:s F; enable3disable button. 5ypass F8 Dets the individual plug.in to bypass mode. *ff/ine F8 Dets the individual plug.in offline. 7e/e%e F8 'emoves this plug.in from this track:s F; chain. Rena)e F8 ins%ance )llows you to give an individual name to this particular F; instance.

-rac( F8 Para)e%er 9on%ro/s

Kou can turn your mi,er into your own truly customi<ed mi,ing console by adding controls directly to the mi,er track panels for those F; parameters that you find you are most likely to need to tweak most often.

0ou<// find )ore usefu/ infor)a%ion abou% %$is in 9$ap%er ##? Pro:ec% 3anage)en% Fea%ures. 3ean'$i/e? i%<s easy %o ge% s%ar%ed. .e%<s see $o' you 'ou/d go abou% crea%ing a conso/e /i(e %$a% s$o'n be/o'.

-nlock your inner '()P(' with REAPER 4 Un/eas$ed2 %#&

#" - -$e REAPER 3i4er and 3as%er

?otice the rotary faders for >and ! and >and & (F gain on every track.

E4a)p/e
Kou can use one of your e,isting pro@ect files for this e,ample. %. Bpen one of your earlier pro@ect files, for e,ample, A// -$roug$ %$e =ig$% 3ARHER6 and save it as A// -$roug$ %$e =ig$% 318ER. !. Display the i,er. -ndock it, and ad@ust the width and height of this window as you prefer. 1. From the i,er menu enable 6$o' F8 inser%s '$en siDe per)i%s and 6$o' F8 para)e%ers '$en siDe per)i%s . &. *nsert into the first track an instance of ReaEP. P. Delect the band 1 settings page. R. Click once on the Gain fader control for this band, then click on the Para) button to display the Param menu. #. Click on 6$o' in %rac( con%ro/s. 6. Delect the band ! settings page and click once on the gain fader for this band. Q. Click on the Para) button to display the Param menu. Click on 6$o' in %rac( con%ro/s Asee aboveE. Close the (F window. %". *n the mi,er, you should now see these two controls displayed for track %. Drag and drop the 'ea(F from track % in turn to each of the other tracks. Dave the file. =o%e #: These controls can also be assigned within the i,er. 'ight.click over the control button, then choose the F; and parameter from the conte,t menu Asee aboveE. Choose A// para)e%ers if you wish to add a control for each of the F; parameters. =o%e !: These controls will be added to the track control panel as well as the mi,er panel. Kou could of course have created as many controls as you like, not @ust these two. This e,ercise was @ust an e,ample. =o%e A: =hen we revisit this topic in Chapter %%, you will see that we have a couple of options up our sleeves for making it easy to have controls like this automatically added to new tracks as they are created.

For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) %#P

Up and Running: A REAPER User Guide v 4.59

#".B +or(ing 'i%$ 6ends in %$e 3i4er

(nabling the 6$o' sends '$en siDe per)i%s option from the i,er menu will cause your e,isting sends to be displayed, each with a small rotary fader to enable you to ad@ust the send volume level directly from the mi,er panel. 'ight clicking over an e,isting send causes a menu to be displayed with the options shown here. 'ight clicking over an empty part of a track:s sends area will produce a menu with only one command G 6$o' %rac( rou%ing 'indo'. This can also be displayed by left clicking anywhere on the track:s empty sends area. 6$o' send para)e%ers Bpens a small window with parameters Avolume, pan, etc.E for that send. 3u%e send Toggles the send:s mute status. Re)ove send Deletes the send altogether. 6$o' %rac( rou%ing 'indo' Bpens the track:s routing A*BE window. Go %o send des%ina%ion %rac( Delects the send:s destination track. )s well as this menu, you have a number of other techniHues at your disposal for creating, editing and managing your sends. Kou can drag and drop from the *B button of one track to another Aas in the TCPE to create sends, but using the sends area of a track:s channel strip for this purpose offers you more options. This can be seen in the following table2 1n order %o do %$is ... Add a send fro) one %rac( %o ano%$er. > you do %$is 7rag and drop from one track:s send area or *B button to the other. *n the latter case, a send control window will be opened. 9%r/ drag and drop from one track:s send area or *B button to the other. A/% drag and drop from one track:s send area or *B button to the other. -se this method to create sends from several source tracks to the same destination track to create a traditional submi,. Delect all sending tracks. Mold 6$if% while dragging and dropping from send area or *B button of any selected track to receiving track. Delect all tracks from which you want the sends to come. Mold 6$if% while dragging and dropping from the *B button of the receiving track AunselectedE to any of the selected tracks. 7rag and drop the send to another track. A/% c/ic( on the send. Rig$% c/ic( on any send 9%r/ c/ic( on a send or 9/ic( in empty part of sends area or 9/ic( on the *B button. 9/ic( on the send G allows you to change volume and3or pan, specify send3receive channels, mute etc. 9/ic( and drag on a sendIs control knob. 6$if% c/ic( on the send.

Add a send fro) one %rac( %o ano%$er and open con%ro/ 'indo' for %$a% send. Add a send fro) one %rac( %o ano%$er and disab/e send fro) firs% %rac( %o %$e )as%er.

Add severa/ sends %o one %rac( in one ac%ion Add severa/ receives %o a %rac( in one ac%ion

9opy a send fro) one %rac( %o ano%$er 7e/e%e a send. 7isp/ay a con%e4% )enu. *pen en%ire rou%ing 'indo' for a %rac(. *pen %$e con%ro/ 'indo' for a send. Raise or /o'er %$e send vo/u)e /eve/. -ogg/e a sendNs )u%e s%a%us on or off.

?ote that in the above table, those actions which use the *B button can be carried out in both the Track Panel and the i,er Panel.

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#" - -$e REAPER 3i4er and 3as%er

#".C 6$o'ing -rac( 1cons in %$e 3i4er

The option to 6$o' %rac( icons in 3i4er Afrom the i,er menuE can be enabled to ensure that any track icons that you have allocated will be displayed at the head of the track:s mi,er panel. Track icons are inserted using the 9us%o) %rac( icons, then 6e% %rac( icon... commands from the TCP menu. This menu can also be accessed from within the i,er by right.clicking over a track:s name.

#".9

3anaging %$e 3i4er

=o%e: The sample layouts used in the illustrations in this section are illustrative only and have been selected for learning purposes. They will not necessarily look e,actly the same as the layouts that you are using. Kou might find yourself faced with conflicting ob@ectives when you want to display track F; inserts, sends and so on all at once and for all tracks, especially if you have a large number of tracks. Bne option for displaying more tracks is to enable 6$o' )u/%ip/e ro's of %rac(s '$ere space e4is%s. Dhown here is an e,ample of what might happen when you enable this option. The problem has arisen that all the tracks have been sHuee<ed into the window G but now there isn:t enough room to show all the features that we need to see. *n this e,ample, there is not enough room to display all of the track F; Aobserve the down pointing arrows on tracks 1 and &E. =hen this happens you have two main options. These are either to make manual on.screen ad@ustments to the relative si<e of the different parts of the track panels, or to use a thinner mi,er layout.

3a(ing )anua/ on-screen ad:us%)en%s. *f, in the e,ample above, you hover your mouse on the boundary between the sends area and the track name for any track, the mouse cursor will change to a double.headed arrow, as shown on the right. Finding the right spot can be a little tricky at first, so be patient. Kou can then either click and drag up or down to drag the boundary up or down for that one track or Aas in this caseE hold 9%r/ while you drag up or down to move the boundary for all tracks. >y holding 9%r/ and dragging down, we are able to make more room to display the F; inserts, as shown here. Dee also table below.

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Up and Running: A REAPER User Guide v 4.59

1n order %o do %$is >. Ad:us% re/a%ive $eig$% of e/e)en%s for %$e curren% %rac( on/y. Ad:us% re/a%ive $eig$% of e/e)en%s for a// se/ec%ed %rac(s. Ad:us% re/a%ive $eig$% of e/e)en%s for a// %rac(. > you do %$is 9/ic(&7rag up or down A/% 9/ic(&7rag up or down 9%r/ 9/ic(&7rag up or down

Mere we have ad@usted the boundaries between the different elements Atrack controls and F; insertsE so as to make all of the F; visible. =e have then made some manual ad@ustments . for e,ample, the S- meter on the master has been made taller again by dragging up its top boundary Ashared in this case with the sends areaE.

Using )i4er /ayou%s. The illustration below Aon the ne,t pageE is an e,ample of the other approach, that of using a different layout. There:ll be more about this in Chapter %%. Mowever, to choose a mi,er layout for your tracks, you can @ust do this2 %. Delect the tracks whose layout you wish to change. For all tracks, @ust select one then press 9%r/ A. !. 'ight click over any track name then choose 6e% %rac( /ayou% then 3i4er Pane/ then select from the menu. The layouts that you see listed are attached to whichever theme you are using and may not be the same as those shown here. i,er

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#" - -$e REAPER 3i4er and 3as%er

This is an e,ample mi,er layout, which may or may not be available from the theme that you are using. To browse thru, and download, the available '()P(' themes go to http233stash.reaper.fm3. Dample screen shots of some of the track and mi,er layouts supplied with the '()P(' & default theme are shown in Chapter %%.

#".#" -rac( 9on%ro/ 3enus

The same functions that are available in the track control panels of your track view are generally also available in the mi,er control panels. These functions are covered in detail in Dection ! of this -ser /uide. For e,ample2 'ight clicking over the background area or Track ?ame for any track panel in the mi,er produces the track conte,t menu. Tracks can be armed in the i,er for recording. Clicking on a trackIs *B button displays the trackIs 'outing =indow. 'ight clicking on this button displays its routing menu. Clicking on a trackIs F; button displays the F; chain for that track. 'ight clicking on this button displays a conte,t menu. 'ight clicking over a trackIs volume or pan fader causes the Solume Control or Pan Oaw window to be displayed. Dimilarly, the 'ecord )rm, 'ecord onitoring and Delect 'ecord ode buttons serve the same purposes as they do in Track Siew. Tracks can also be muted or soloed in the i,er view. >oth buttons use the same mouse modifiers and have the same conte,t menus as they do in the TCP.

For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) %#Q

Up and Running: A REAPER User Guide v 4.59

#".## 1n%roducing +indo's 6creen 6e%s
=indows screen sets can be used to save and recall complete on.screen layouts of your '()P(' windows, including )rrange view, i,er view, the ?avigator, the 'outing3/rouping matri,, and more. =e:ll e,amine their capabilities in more detail in Chapter %%, along with some e,amples in action. -sing =indows screen sets to save different combinations of i,er settings can be a useful step towards fully understanding what screen sets are and how they work. They can be a great time saver, because the more you use '()P(', the more you will find yourself settling on perhaps three or four different layouts that you prefer for use in different circumstances. This will depend mainly on factors such as2 =u)ber of -rac(s2 your preferred mi,er layout is likely to be different for a pro@ect with only three or four tracks from what it would be for a pro@ect with perhaps !" or 1" tracks. For larger pro@ects you are more likely to show multiple rows. Pro:ec% 6%age: the information that you would like to see in your i,er may vary according, for e,ample, to whether you are at the recording, early mi,ing or final tweaking stage of your pro@ect.

=indows screen sets are globally available in all pro@ects. They are stored in a screensets.ini file in your U)pplication DataU'()P(' folder. This means that you can use any pro@ect to create a screen set, and then use that same screen set with any other pro@ect. Kou should find the following summary information useful. 1n order %o do %$is >. 9rea%e a +indo's 6creen 6e% > you do %$is )rrange your =indows, including the i,er and its various options and settings, on screen, e,actly as you want it. *f you want the primary focus to be on the i,er, make sure that it is selected. Choose the Vie' 6creense%s&.ayou%s command A9%r/ EE. Delect the +indo's tab. Click on any item number to select it, then on 6ave to open the 6ave +indo's 6creeense% window Asee aboveE. Delect all of the various options, and make sure that .as% focus is on 3i4er. *f necessary, type it in. Click on 6ave. Kou can accept any default shortcut Ooad key that is shown Ae.g. F# for windows screen set V%E or click on Edi% s$or%cu%s to open the )ctions Oist (ditor and assign your own. The )ctions Oist is e,plained in Chapter %1. (ither use the keyboard shortcut Awhere one e,istsE, or Choose the Vie' 6creense%s&.ayou%s command A9%r/ EE. Delect the +indo's tab and double.click on the reHuired screen set name.

.oad&Reca// a +indo's 6creen 6e%

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#" - -$e REAPER 3i4er and 3as%er

#".#! 3i4er Appearance Preferences
'()P(':s Preferences window does not have a section specifically labelled where your choices will affect the i,er and its appearance. i,er, but there are several places

Bne of these is the Appearance? -$e)e Edi%or page of your Preferences window. This is another topic that will be e,amined more fully in Chapter %%, but as far as the i,er is concerned, you can change the color of any of the elements listed below. Dimply click on the element name in the Theme (ditor list, choose a new color from the color picker window and click on *H. -se the 6ave -$e)e... button if you want to save your changes. i,er i,er i,er i,er i,er i,er i,er i,er i,er F; te,t normal color F; te,t bypassed color F; te,t offline color sends te,t normal color sends te,t muted color sends te,t *D* hardware color sends level color F; knob te,t normal color F; knob te,t bypassed color i,er F; knob te,t offline color =hether you want the S- meters to be interlaced. S- meter clip indicator color S- meter top color S- meter middle color S- meter bottom color S- meter interlace3edge color S- meter show *D* activity

-nder *p%ions? Preferences, Appearance you will find a couple of options that you can use to customi<e your mi,er appearance by the use of color coding. These are to 6e% %rac( /abe/ bac(ground %o cus%o) %rac( co/ors and to -in% %rac( pane/ bac(grounds. )ny colors selected using the conte,t menu 9us%o) %rac( co/ors command Asee Chapter &E will be applied to the track panels in your i,er if either or both of these options is enabled. Dhown below is an e,ample of this, with -in% %rac( pane/ bac(grounds enabled2

Bne final preference setting to note is the 6$o' in )i4er option under Pro:ec%? -rac(&6end 7efau/%s. >y default, this option is enabled, which means that new tracks as they are added are automatically shown in the i,er. Kou should disable this preference if you wish to change this default behavior. This setting can be over.ridden for individual tracks using the Track anager. This is e,plained in Chapter %%.

For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) %6%

Up and Running: A REAPER User Guide v 4.59

#".#A 6%ereo and 7ua/ Panning
The stereo panner and the dual panner are designed to give you more control over how you pan stereo tracks. The default pan law Astereo balance3mono panE gives you a single pan control which moves the sound between the left and right speakers. Mowever, a stereo track is made up of two channels G left and right. Kou can see these on any stereo wave file that you record or import into any pro@ect. The output of one channel Athe top waveformE is normally routed %""L left, the other Abottom waveformE %""L right. -sing the dual panner or the width panner you are able to change this in one of two different ways. The dual panner is easier to understand. (ach of the two pan controls contains one of the channels. Pan the first of these %""L left and the second %""L right and you will hear the first channel thru the left speaker only and the second thru the right speaker only. 'everse these and you will now hear the first channel only thru the right speaker and the second only thru the left channel. Pan both fully left and you will hear both thru the left speaker only. Kou can ad@ust both pan controls independently to place each channel e,actly where you want it. For e,ample, if you set both controls dead center you will hear e,actly the same mi, of the two channels thru both speakers. The stereo panner is in some respects more subtle. Kou can use the width control to ad@ust the mi, of the two individual channels of a stereo media item, folder or submi,, and the balance panner to position that overall mi, further to the left or the right. To help you understand this, let:s work thru a relatively simple demonstration. 7isp/aying %$e 7ua/ Panner or 6%ereo Panner )ny track:s dual or stereo panner can be shown by right.clicking over the pan fader and selecting the reHuired pan mode. Kou are most likely to want to do this for a track which contains stereo media items, or which is a folder, or acts as a bus or submi,. E4a)p/e *n this e,ample we will first create a stereo file in order to help us e,periment with the use of the width panner. =e will then get a little more ambitious and use it on a submi,. This will include rendering the mono media items on two current tracks a single stereo file. The topic of rendering will be covered in detail in Chapter %6. %. !. 1. &. Bpen the file A// -$roug$ %$e =ig$%.RPP and save it as A// -$roug$ %$e =ig$% +17-,.RPP. ute all tracks e,cept the /uitar >ody and the >ou<ouki. Pan the /uitar >ody %""L left and the >ou<ouki %""L right. Choose the Render command from the Fi/e menu. ake sure that you set Channels to 6%ereo, and select 3as%er )i4 and En%ire pro:ec%. Delect output format P1 and Add i%e)s %o ne' %rac(s in pro:ec% '$en finis$ed Aas shown belowE. Click on Render # Fi/e. )fter a few seconds, the rendered file will be added as a new track. /ive the track a suitable name. *t should resemble that shown here.

P. R.

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#" - -$e REAPER 3i4er and 3as%er

*n this rendered track, the guitar makes up the audio on one channel, the bou<ouki on the other channel. 6o/o this track and play the song. )d@ust the pan control slowly, first fully left, then fully right, then back to the center. )s you do so, one channel will gradually fade away. Panned full left you will hear only the guitar, full right only the bou<ouki. ove the pan back to the center. %". =ith this track selected in the TCP, right click over the pan control and choose 7ua/ Pan option from the pan mode drop down list Athese are e,plained overleafE. %%. Play the song. Dlowly move the top pan control to %""L right. Kou will now hear both instruments in the right speaker only. %!. ove the lower pan control to %""LL left. ?ow you will hear the guitar in the right channel only, the bou<ouki in the left channel only G the opposite of what you started with. %1. (,periment moving these faders. =hen finished, move the top pan control to %""L left and the lower pan control to %""L right. Dave the file. %&. ?ow change the pan mode for this track to 6%ereo Pan. %P. Play the song. )t first you will hear only the guitar in the left speaker, only the bou<ouki in the right speaker. Dlowly move the lower AwidthE panner from %""L right towards the centre A"=E. )s you do so, the two instruments will tend to blend more together. %R. =ith width set at "=, move the top ApanE control fully left. The mi, will now be heard thru one speaker only. ove it back to the center. Dave the file. =o' %ry %$is: %. -nsolo and mute the stereo track. !. Create a folder called *nstruments @ust after the Socal track. Delect Dtereo pan mode for this folder. 1. ake the two guitar tracks and the bou<ouki tracks child tracks of this folder. )d@ust the volumes and pan settings of the individual tracks and the folder to get a nice mi,. Pan the different tracks well apart. &. -se the width control on the folder. (,periment with using this to bring the instruments closer together or further apart. -se the pan control to position the overall mi, further left or right. Kou can still ad@ust pan settings for individual child tracks within the folder as well if you wish. -ip: This techniHue can do wonders when you are mi,ing vocals, including vocal duets and vocal harmonies+

#. 6. Q.

Pan 3odes
>y default, the stereo width is applied before the pan3balance control. To select a different pan mode, right.click over either the pan or width control fader and choose from the drop down list. The three modes are2 For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) %61

Up and Running: A REAPER User Guide v 4.59

6%ereo 5a/ance&3ono Pan2 The track is treated as mono, even if it contains stereo media. Det to center, you hear the same signal eHually thru both speakers. Det hard right, you hear it in the right speaker only. 6%ereo Pan Oets you control side ApanE and width separately. Dide means that the stereo image is set more to the left or right, and width means how far apart the left and right channel are in the stereo image. =ith side set to center and width set to %""L, you hear the left channel in the left speaker and the right channel in the right speaker. =ith side set to center and width set to "L, you hear both channels eHually in the left and right speakers. =ith side set hard right, you hear both channels eHually in the right speaker, regardless of the width setting. 7ua/ Pan: Oets you control both channels separately. The left knob sets the left channel more left or right, the right knob sets the right channel more left or right. =ith left set hard left and right set hard right, you hear the left channel in the left speaker and the right channel in the right speaker. =ith left and right both set to center, you hear both channels eHually in the left and right speakers. =ith left and right both set hard right, you hear both channels eHually in the right speaker.

#".#4 3as%er -rac( *p%ions and 6e%%ings

The mi,er aster Track controls has the same functions as when the aster Track when shown in Track Siew. ?ote the Butput button Aabove . by default labelled onoE2 Oeft click on the Butput button to toggle between Dtereo and ono modes. 'ight click on the Butput button to set any one of four available ono modes Aabove rightE. Oeft click on the F; button to display the master F; Chain. 'ight click on the F; button for the )dd F; conte,t menu. *f the F; chain for the aster is displayed, then you can use all and any of the F; management keyboard shortcuts that you can use on your tracks. 'ight click over the S- area to display the settings that you can use to control what is displayed in the S- and how it is displayed Aabove rightE. This includes the option to display output in multichannel mode Ae.g. when working with surround soundE. Disabling this option will ensure a two channel display.

#".#5 3as%er ,ard'are *u%pu%s

Butput from the master can be directed to one or more of your available hardware outputs. This can be done using the routing matri,. The master routing A*BE button Ain the i,erE can also be used to set up and manage your hardware output or outputs. 'ight click on the *B button to display a menu of hardware output options. These can be toggled on and off in any permutation that you reHuire. Oeft Click on the *B button to display the master track outputs window. This can be used to control the levels and panning of the signals to the hardware outputs. ?otice AbelowE that for each output you can independently control any or all of the following2 Toggle ute on3off. Toggle phase invert. Det Solume level. Det panning level.

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#" - -$e REAPER 3i4er and 3as%er

#".#@ 3as%er -rac( 9$anne/s
The topic of routing and channel splitting is one that recurs throughout this user guide. The concept itself starts as a relatively simple one, but from those simple beginnings it can grow into something as comple, and as complicated as you like. Kou:ll find no shortage of e,amples in Chapter %P. Kou can use channels to send two copies of the same signal to two different places. Kou can then do separate things to each signal before @oining them up again. >elow is a relatively simple e,ample. The e,ample itself may or may not be something that youIll ever want to do, but thatIs not the point. The point is that it will help you to understand what channel splitting is about and how to do it. OetIs take an e,ample of using multiple channels Atwo stereo pairs in factE for our master. =e can use this to feed some effect Asuch as reverbE into our signal chain, then send the effect Aand only the effectE out to our headphones Ato enable us to assess itE, while sending the overall final mi, to our speakers. *n order to work thru this e,ample, you will need a sound card with at least four audio outputs.

E4a)p/e This e,ercise will almost certainly be too comple, for the novice user, and as such is recommended for the more e,perienced only. Btherwise, you might wish to return to it after you have completed Chapter %P .
This diagram shows what we are going to achieve. *t assumes that our audio signal flows from left to right. First we will create the necessary e,tra Channels for the

aster Track.

The audio coming into our aster from the mi, will be split between Channels %3! and Channels 13&. The signal that is passed to Channels 13& will be fed thru a 'everb plug.in then directly out to our headphones. *t will also be passed back into a Compressor plug.in, where it will be mi,ed back into the original incoming signal. The final mi, will then be fed to the speakers. %. !. Bpen the file A// -$roug$ -$e =ig$%.rpp and save it as A// -$roug$ -$e =ig$% 3A6-ER.RPP. Pan the two guitar tracks roughly &"L left and &"L right respectively. Pan the >ou<ouki about %PL left, the So, around %"L right. Fuickly ad@ust the volume levels for each track to suit, especially to avoid clipping in the aster. Dave the file. Siew the i,er and enable the options to 6$o' F8 inser%s '$en siDe per)i%s and 6$o' sends '$en siDe per)i%s. ake sure your Dpeakers and Meadphones are each connected to different paired sound card outputs. 'ight click over the 1* button in the aster and make sure that output is directed both to your speakers and to your headphone amp. To create the reHuired channels, left click on the 1* button for the 3as%er -rac( and set the number of channels to & Aas shown, rightE. )ssign the output of channels %3! to your studio speakers and 13& to your headphones. Kour settings should appear similar, but of course not identical, to those shown here. For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) %6P

1.

&. P.

R.

#.

Up and Running: A REAPER User Guide v 4.59

6. Play the song. For now, it should be heard over the speakers, but your headphones should still be silent.

Q. *n the aster F; chain, add the plug.in ReaEP and, for the purpose of this e,ercise, add a ! d> gain on >and !, a % d> drop on >and 1, and a %d> gain on >and &. %". *n the aster F; chain, click @ust below the 'ea(F and add ReaVerba%e. Oeave the parameters at their default settings, but ad@ust the outputs from this plug.in so that they are directed left and right respectively to channels 1 and & only. The settings for these outputs are illustrated ArightE. %%. ?ow play the song. The playback thru the speakers will include the effects of your ReaEP settings but not ReaVerba%e. *n contrast, if you listen thru the headphones, you will hear only the reverb. %!. ?ow click again in the master F; chain and add Rea9o)p after the reverb plug.in. )d@ust the *nput Dettings for this plug.in so that Channels % and 1 are the the left, and channels ! and & are the ain *nput for the right, as illustrated below right. %1. ?ow play the song. Kou can ad@ust the amount of reverb in the mi, by ad@usting the vertical +e% and 7ry faders in the ReaVerba%e window. Kou can also ad@ust the -$res$o/d Avertical fader on the leftE and Ra%io settings for Rea9o)p if you wish. %&. Kour speakers will now play the output signal from your aster TrackIs F; chain, including the reverb mi,ed in. Kour headphones will still play only the direct output of the ReaVerba%e plug.in. %P. Dave this file. ain *nput for

#".#B Avoiding 9$anne/ .ea(age

Kou need to be aware when you are using multiple channels for the aster Track that any signal routed along any channels between tracks will also be sent to the aster. For e,ample, you might be using channels 13& in one or more of your tracks for some other purpose. *n that case, if you also used channels 13& for the purpose outlined in the above e,ample, then the signal on channels 13& of your tracks would also be leaked into the signal being fed to your reverb plug.in. This channel leakage can be avoided simply by reserving for the aster a pair or pairs of channels not used elsewhere in the pro@ect G in this e,ample, you might choose to use Channels P3R or Channels %%3%!. Dince you have up to R& channels available to you, this should not normally present you with any problem.

#".#C Rese% VU 3e%er Pea(s

?otice that during playback, your S- meters in both track view and mi,er view will display the peak level recorded for each individual track Asee rightE. 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 9%r/ key while you click your mouse over the area where the peak value is displayed in any one track. Kou can also if you wish disable the option under *p%ions? Preferences? Appearance? VU 3e%ers&Faders to Rese% )e%er pea( indica%ors on p/ay&see( . *f you do this, the current peak levels will be remembered even when you stop playback. =hen you resume playback, they will be retained as the peak levels until, of course, a louder passage is encountered.

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## - Pro:ec% 3anage)en% Fea%ures ## Pro:ec% 3anage)en% Fea%ures

##.# 1n%roduc%ion
*n this chapter we:ll be looking primarily at some of those features of '()P(' which you are more likely to want to use when you are managing your pro@ect as a whole rather than @ust focussing on individual tracks or items. These include using the Pro@ect edia3F; bay, Oocking, modifying a color scheme, using the Track anager, Dcreen Dets and more. =e:ll start by looking at how you can change a pro@ect:s start time.

##.!

6e%%ing %$e Pro:ec% 6%ar% -i)e

=ith many pro@ects you will find that you have a few seconds of recorded silence before the program material Ainstruments and vocalsE actually start. This can create two annoying problems2 Times shown on the timeline and on the big clock do not accurately represent the time within the song. =hen you go to the start of the pro@ect, there are always a few seconds of silence to be played before you reach the start of the song.

*n the e,ample shown above the actual start of the song is at "2"&.QR%. =e want to reset this point to Tero. This is how it is done2 Place the cursor at the point that you wish to mark as the start of the song . in the e,ample shown this will be "&.R"# into the pro@ect. Press A/% En%er to display the Pro:ec% 6e%%ings window. Delect the tab labelled Pro:ec% 6e%%ings. Click the button labelled 6ub%rac% cursor posi%ion fro) s%ar% %i)e Asee rightE. '()P(' will automatically enter the correct position into the Pro:ec% s%ar% %i)e bo, for you. Click on *H to close the Pro@ect Dettings interface. To mark this point, press the letter 3 on your keyboard. This creates a marker on your timeline labelled #. *f you need to refresh your understanding of markers, look back thru Chapter 6. The position of the marker is now set to ":"".""" and you can @ump straight to this point at any time by pressing # on your keyboard Asee rightE. *f you wish, you can double.click on the marker to open up the Edi% )ar(er dialog bo,, where you can give it a name.

For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) %6#

Up and Running: A REAPER User Guide v 4.59

##.A .oc(ing 3edia 1%e)s

*ndividual items can be locked into position to prevent their settings from being accidentally changed, such as by being moved or deleted, while at the same time leaving you free to manipulate other items as you wish. To make use of this feature, first ensure that both of the item icons .oc(ed and Un/oc(ed are selected Aalong with any other item icons that you wish to useE under your *p%ions? Preferences? Appearance? 3edia settings Asee aboveE. =hether the icons are displayed on top of the media items or in a lane above it Aas in the e,ample belowE will depend on whether you have enabled the option 7ra' i%e) /abe/s above ra%$er %$an 'i%$in %$e i%e) . Oocking for individual media items is then toggled on and off by clicking on the small padlock item that will be visible at the top left corner of the media item.

The e,ample above shows a track with two media items. The first item has been locked Anotice the closed padlock iconE. *t can now not be deleted or moved, unless its status is set to unlock. Dimilarly, you cannot grab the handle across the top of the media item and drag it down to ad@ust its volume, nor can you add a fade in or fade out, nor can it be slip.edited. Kou can, however, make changes to most of its settings within the *tem Properties dialog bo, Apitch, play rate, F; Chain, and so onE or using the media item conte,t menu. The second item, however, remains unlocked Anotice the open padlock iconE. *t can Afor e,ampleE be moved, or deleted, or have a fade out added. Kou can also open the item for editing, in the *D* editor A *D* itemsE or your installed e,ternal editor Aaudio itemsE. Oocking and unlocking can also be performed with multiple items. To lock a number of items, simply hold the 9%r/ key while you click on each item in turn to build the selection, then click on the padlock for any item included in the selection.

##.4

.oc(ing -rac( 9on%ro/s

The toggle command .oc( -rac( 9on%ro/s Afrom the track control panel right.click conte,t menuE can be used to lock3unlock the controls for any track or selection of tracks. This prevents you from making accidental changes, for e,ample, to a track:s volume or pan setting. *n the e,ample shown here the controls of a track have been locked. Kou can hover your mouse over the control of a locked track to see its current setting displayed as a tool tip. -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 %66

## - Pro:ec% 3anage)en% Fea%ures

##.5 Pro:ec% .oc( 6e%%ings

The Oocking feature of '()P(' can be used to effectively free<e certain aspects of a pro@ect file to prevent something accidentally being changed or deleted. There are two aspects to locking2 Deciding which pro@ect elements you would like to be locked. (nabling or disabling the locking feature. The keyboard shortcut . can be used to toggle this on and off.

To display the Oock Dettings window Ashown rightE, press 6$if% . or right click over the lock button Athe last itemE on the toolbar. The table below summarises some of the ways in which you are able to make use of this feature. .oc(ing *p%ion -i)e se/ec%ion 9o))en% This locks the current time selection so that, for e,ample, if you accidentally click and drag at some other point along the timeline your time selection will remain unchanged. Kou can remove a locked time selection by pressing Esc then selecting 0es when prompted. Oocks currently selected loop points. This option prevents you from making any changes at all to any of your e,isting media items. For e,ample, you cannot mute them, add F; to them, delete them, move them, slip edit them, or even access the *tem Properties window or right click menu for any of your items. This option allows you to make any other changes you like to your media items e,cept move them left or right. This option allows you to make any other changes you like to your media items e,cept move them up or down. This option disables actions such as slip editing. This option disables such actions as adding or modifying fades or ad@usting the item volume control handle. This option ensures that when locking is enabled you will not be able to make any changes to e,isting envelopes. For e,ample, you will not be able to move or add points, or change shapes. Kou will still be able to add new envelopes for faders and plug.in parameters, but you will not be able to edit these in any way. For more about envelopes see Chapter %R. Oocking regions prevents you from changing Afor e,ample by moving, deleting or renamingE e,isting regions. Mowever, you will be able to create new regions with Oock 'egions enabled. Oocking markers prevents you from changing Afor e,ample by moving, deleting or renamingE e,isting markers. Mowever, you will be able to create new markers with Oock arkers enabled. Oocks time signature markers and prevents them from being modified.

.oop poin%s 1%e)s fu//

1%e)s Epreven% /ef%&rig$% )ove)en%F 1%e)s Epreven% up&do'n )ove)en%F 1%e) edges 1%e) con%ro/s Enve/opes

Regions

3ar(ers

-i)e 6igna%ure 3ar(ers E4a)p/e

OetIs suppose that we are happy with the way our media items line up, and we donIt want any of them being accidentally nudged or moved to the left or right. Kou might then wish to lock their hori<ontal position. %. Press 6$if% . to open the Oocking Dettings window. !. Tick only 1%e)s Epreven% /ef%&rig$% )ove)en%F. 1. *f Enab/e .oc(ing is not enabled, click on it to turn it on. For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) %6Q

Up and Running: A REAPER User Guide v 4.59

&. P. ?ow try to drag and drop any of your items to the left or right. They wonIt move. Press the . key G this toggles locking off again.

##.@

9us%o)iDing 9o/ors and Fon%s

Chapter %Q of this -ser /uide covers '()P(':s preferences in detail. Bne page of settings that can be very useful is the '()P(' -$e)e Edi%or, which lets you modify your theme settings. This is displayed by choosing the Appearance? -$e)e Edi%or page within your Preferences window A rightE. Themes consist primarily of three types of materials2 image files, color3font definitions and =indows settings. The image files provide, for e,ample, the track control items and media item icons Apan and volume faders, mute and solo controls, etc.E. The definitions apply to items such as the font used for track names and the colors used for media items, track and mi,er panels, edit and play cursors, markers, S- meters, envelopes, and so on. *f you are not sure what any of the listed items are, you can use the -$e)e e/e)en% finder button to identify them Asee belowE. =indows settings are those items whose appearance is by default determined by your =indows color scheme and appearance settings Asuch as =indows list te,t and backgroundE. Kou can tell '()P(' to over ride these. *n addition to those installed with '()P(', many themes are available for download from stash.reaper.fm. To install a downloaded .'eaThemeTip file, drag and drop it from =indows (,plorer into '()P(':s )rrange Siew Amain viewE. The .oad -$e)e > button can be used to select any available theme. Dcroll thru the -$e)e co/or&fon% con%ro/s list to see all of the items which you can change. Click on any item to open Aas appropriateE the color picker or font dialog bo,, where you can change its definition. Kou can also 7mi, and match8 . that is, use the basic color and font definition set from one theme with the image files of another theme. To do this, use the 7efau/% i)age resources drop down list to select the theme whose images you wish to use, unselect the option A//o' %$e)es %o override and click on App/y. Finally, having chosen your fonts and colors and selected your favorite images, you can save them all together into a new theme by clicking the 6ave %$e)e... button and giving your theme a name.

-nlock your inner '()P(' with REAPER 4 Un/eas$ed2 %Q"

## - Pro:ec% 3anage)en% Fea%ures

##.B -$e Pro:ec% 3edia&F8 5ay

*vervie' The Pro:ec% 3edia&F8 5ay is a one stop center which you can use for managing and arranging a pro@ect:s F; and media items. *t is opened from the main menu by the Vie'? Pro:ec% 3edia&F8 5ay command. The window contains five tabs ApagesE. The *tem /roups AChapter RE and Take Comps AChapter #E tabs have already been introduced. The other three are2 6ource 3edia. This lists the media items that are available for use in, or are already used in, the

pro@ect. (ach item will occur only once in this list. =here it is used more than once in the pro@ect, this will be indicated by the number in the -sage column. 3edia 1%e)s. This lists only the items that are actually used in the pro@ect Ai.e., activeE. )n item will appear in this list as many times as it is used in the pro@ect. F8. This lists the F; plug.ins that are used in the pro@ect.

Kou can drag media files Ae.g., from '()P(':s edia (,plorer or from =indows (,plorerE or F; Ae.g., from the F; browserE into the Pro@ect >ay. edia items inserted in this way are added to the 6ource 3edia page. *f the item is then used in the pro@ect, it will be added to the 3edia 1%e)s page. F; items are added to the F; bay. Kou can rename items within the Pro@ect >ay, select all instances of a media file or F; within the pro@ect, and replace media3F; in the pro@ect with any other media3F; from the Pro@ect >ay. Kou can also mute3solo media items and bypass3unbypass F;. >oth edia pages and the F; page include a 'etain column. =hen you drag media items or F; into the pro@ect bay, they are marked with a W in the retain column. This setting means that the entry will remain in the pro@ect bay even if there are no instances of that media item or F; in the pro@ect. =hen you add media Aby recording or insertingE to the pro@ect, they will appear as entries in the media items and source media bays, with the retain status unset. These entries will be automatically removed from the pro@ect bay if they are removed from the pro@ect itself. *f you want the entries to remain in the pro@ect bay even after being removed from the pro@ect, you should enable retain for those entries in the source media bay. F; entries in the pro@ect bay include a Prese% column. *f you change the value in this column Afrom the right.click menuE, all instances of that F; in the pro@ect with the previous preset selected will be changed to the new preset. *n addition, you can retain an F; entry with a specific preset, or multiple entries for the same F; with different presets, in the pro@ect bay. The Pro@ect >ay includes the buttons Ac%ions and *p%ions. Clicking on either of these displays a menu. )s an e,ample, the *p%ions menu is shown on the right. ost of these commands reHuire little e,planation. 3irror se/ec%ion in bay and pro:ec%. =hen enabled, this causes an item selected in the pro@ect to also be selected in the bay, and vice versa. Kou can also ensure that '()P(' will Doo) %o a se/ec%ed i%e) when this option is enabled. Use /as% se/ec%ed i%e) as source for Tdra' a copyU )ouse ac%ion . This enables you to use pencil mode to create copies of the last selected item. 6pace bar previe's )edia allows use of the spacebar to play the currently selected media or source media item. .oop )edia previe' will allow any loop marked in the pro@ect to be applied. Previe' Asource or media itemsE %$roug$ se/ec%ed %rac( allows you to play back the item with, for e,ample, any F; in a particular track:s F; chain, or any track envelopes, being applied. The Fi/%er can be set to use name, path or comment. ake sure the option 9/ear bay '$en c$anging pro:ec%s is enabled if you wish to make each Pro@ect >ay pro@ect specific. Disable it if you want to carry over items in the current bay to the ne,t pro@ect that you open or create. Kou also have the option to Au%o)a%ica//y re%ain )edia i%e)s '$en %$ey are re)oved fro) pro:ec%. This ensures that retain status is automatically assigned when an item is removed from the pro@ect. For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) %Q%

Up and Running: A REAPER User Guide v 4.59

The 7oc( pro:ec% bay and 9/ose 'indo' commands are self.e,planatory. The commands on the Ac%ions are shown right. They can be used with and applied to the items Amedia or F;E on whichever bay page is currently selected. =e' pro:ec% bay 'indo' opens a new pro@ect bay window. Kou can then use this Afor e,ampleE to load a different saved pro@ect bay, whilst keeping the original bay open in the original window. 9rea%e ne' fo/der. *ndividual pro@ect bay entries can be dragged and dropped in or out of the folder Asee e,ample below, where two folders have been created, >ells and DtringsE. Folders can be used for source media items Aas shown belowE, edia *tems Ain pro@ectE or F;. Double click left of the folder name to collapse or e,pand the folder. Force refres$ forces a refresh of the pro@ect bay display. 6e/ec% a// i%e)s causes all items in the current tab to be selected. Re%ain a// i%e)s causes all items in the current tab to be marked to be retained in the bay even when they are deleted from the pro@ect. Re)ove a// i%e)s fro) pro:ec% will remove all items from the pro@ect, and Re)ove a// i%e)s %$a% are no% used in pro:ec% will remove from the media bay all items that are not used in the pro@ect.

The 3edia E4p/orer button Alower leftE can be used to open the edia (,plorer, from where media items can be dragged and dropped into the pro@ect bay Aas source mediaE or into the pro@ect itself. The rotary Vo/u)e control can be used to control the volume of any item being previewed when the option to preview thru selected track has been disabled. The 5ay button Abottom leftE serves three basic functions. Kou can use it to create a new pro@ect bay, to replace the contents of the current bay with a previously saved one, or to merge the contents of a previously saved pro@ect bay into the current one. -$e 6ource 3edia 5ay and %$e 3edia 1%e)s 5ay
The techniHues for working with media items in both of these bays are very similar. The main differences are2 *tems dragged into the >ay are placed in the Dource edia >ay only, until such time as they are actually added to the pro@ect. They are then automatically also listed in the edia *tems bay. Bnly items which are active Aand therefore included in the pro@ectE are shown in the edia *tems >ay. )ctive items can be managed from either of these bays. )vailable items can only be managed from the Dource edia bay. -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 %Q!

## - Pro:ec% 3anage)en% Fea%ures

1n order %o do %$is > 9$ange %$e co/u)n order ,ide&6$o' co/u)ns Add an i%e) %o 6ource 3edia 5ay -o previe' an i%e) -o add an i%e) fro) 6ource 3edia or 3edia 1%e)s 5ay %o a pro:ec% -o re)ove an i%e) fro) 'i%$in %$e pro:ec%. -o re)ove an inac%ive i%e) fro) 6ource 3edia 5ay -o re)ove a// unused i%e)s fro) %$e 3edia bay -o re)ove %$e re%ain s%a%us of an ac%ive i%e) -o re)ove a// ins%ances of an i%e) fro) pro:ec% -o reassign re%ain s%a%us %o an ac%ive i%e) -o /oca%e a 3edia 1%e)s 5ay i%e) or 6ource 3edia 5ay i%e) in %$e pro:ec% -o )u%e an i%e) in pro:ec% -o rena)e any )edia i%e) -o add co))en% %o an i%e) -o fi/%er %$e )edia i%e) /is% -o c/ear a fi/%er -o rep/ace a 6ource 3edia or 3edia 1%e)s i%e) 'i%$ ano%$er i%e) -o save an i%e) se% /is% fro) %$e 5ay Efor possib/e use in o%$er pro:ec%sF > you do %$is Click and drag column header left or right. Kou can do this with any of the five Pro@ect >ay tabs selected. 'ight click on any header, deselect3select from list. Drag and drop from =indows (,plorer or '()P(':s 3edia E4p/orer. Kou can drag an entire item or Aif using edia (,plorerE a time selection. Delect the item then press 6pace.

(ither... Drag and drop from >ay into the pro@ect arrange view window, Br J Delect track and position cursor in )rrange view. 'ight.click on item name in >ay and choose 1nser% in%o pro:ec% from conte,t menu. *f not already active, its status will now be made )ctive.
Delect the item and use the 7e/e%e key, either from the arrange view window or within the edia >ay. Delect item and press the 7e/e%e key, or right.click in item row in 'etain column Ato left of item nameE, then choose Re)ove fro) bay. 'ight click on title bar, choose Re)ove a// i%e)s %$a% are no% used in pro:ec% from the conte,t menu. Delect item in bay, right click in 'etain column, choose Re)ove fro) bay if re)oved fro) pro:ec%. 'ight.click item in 'etain column for the item, choose Re)ove fro) pro:ec%. Delect item in >ay, right click in 'etain column, choose Re%ain from menu. Click on the item in the list then on the Usage button. Click on any item in that list in order to go to and select that item. 'ight.click on item, choose 3u%e from the conte,t menu Ato toggleE. Delect item in the >ay2 click Rena)e button or use the conte,t menu. Double click in the comments column of the item row. Type a te,t string in the Fi/%er bo, Ae.g. vo, to see only media items with vo, in their nameE then click on the Refres$ button. Click on 9/ear Fi/%er button. Delect item name in Dource edia or edia *tems list. 'ight.click and choose Rep/ace in pro:ec%. Then select from flyout menu, e.g. A// ins%ances or any single instance2 choose the replacement item. The media format Ae.g. P1, =)SE need not be the same for both items. Delect the items, then click on the 6ave button and choose one of the available options. Kou can 6ave se/ec%ed i%e)s %o a ne' pro:ec% bay, or 6ave a// i%e)s as a ne' pro:ec% bay. For either of these, you will be prompted for a new .'ea>ay file name. Kou also have the option to 6ave and )erge se/ec%ed i%e)s %o an e,isting pro@ect bay file, in which case you will need to select the reHuired file from the list. Click on the 5ay button, choose a .'ea>ay file from the list. Kou may .oad and )erge it with the current one, or replace the current one. Click on any column header to sort. Click again to reverse sort order.

-o /oad a previous/y saved i%e) se% /is%. -o sor% )edia i%e)s /is%.

For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) %Q1

Up and Running: A REAPER User Guide v 4.59

-$e F8 5ay
>asic F; >ay management commands are the same as those used by the edia >ay G e.g., setting retain status on3off, applying and clearing filters, creating and using folders, and removing items from the media and F; bays are handled in e,actly the same way. The e,ample here shows two folders being used to organi<e the F;.

This table mostly emphasises those aspects more specific to the F; >ay itself. 1n order %o do %$is > Add F8 fro) F8 5ay %o %rac( or )edia i%e) in pro:ec%. *pen F8 bro'ser 'indo' Add F8 %o %$e F8 5ay .oca%e and open F8 'indo' for any F8 ins%ance > you do %$is

(ither... Delect track or media item in )rrange view, right.click on plug.in name in F; >ay, choose 1nser% in%o pro:ec% Br... Drag and drop plug.in from F; >ay to track panel or media item.
Click on the F8 5ro'ser button. Drag and drop from F; >rowser. 'ight click over the track name or number in the Track column then click on the reHuired instance. The Usage button can also be used for this. Delect the F; then use the 5ypass button, or right.click over F; name and choose 5ypass from menu. 'epeat this to re.enable the plug.in. 'ight.click in the Preset column for the F; and select from the menu. 'ight.click in the Preset column for the F; and select from the menu. 'ight.click on F; name, choose Rep/ace in pro:ec% then select from the flyout menu of F;. Kou can replace all instances or a single instance.

-ogg/e bypass for any F8 Assign a prese% %o an F8 Asee note below tableE 9$ange F8 ins%ance prese%. Rep/ace one F8 'i%$ ano%$er pro:ec% bay F8

=o%e: Dome F; names may occur more than once in the list. *n the e,ample above, 'ea(F appears twice. This is because one or more of these instances have been assigned a preset. This enables you to manage these separately. *n the above e,ample, the plug.in ReaEP occurs in the pro@ect in several places. The preset s%oc( O basic ## band has been applied on two of those instances. Mence these are listed separately in the F; bay.

-nlock your inner '()P(' with REAPER 4 Un/eas$ed2 %Q&

## - Pro:ec% 3anage)en% Fea%ures

##.C -$e -rac( 3anager

The -rac( 3anager AVie'? -rac( 3anagerE gives you overview control of your tracks. *t displays a grid similar to a spreadsheet or table. *f the grid is empty, click on the 6$o' A// button Aabove rightE to display a list of the pro@ect:s tracks. Click on the *p%ions button or right.click on the title bar to display a menu which includes 3irror %rac( se/ec%ion. This allows any track selection made in either the Track anager or the TCP to be automatically applied in the other. Kou can also ensure that when this is enabled, selecting a track in the Track anager will 6cro// %o se/ec%ed %rac( in TCP and mi,er. *f your pro@ect includes folders with child tracks, then that hierarchy is retained within the track manager:s track list. The option to 1nden% %rac(s in fo/ders can be disabled from the *p%ions menu. The other *p%ions button menu items are e,plained in their conte,t in the table below. The table also summarises what you are able to do within the track manager window. -o do %$is > 9$ange co/u)n order ,ide&6$o' co/u)ns Ad:us% co/u)n 'id%$ Fi/%er %$e %rac( /is% by na)e > you do %$is Click and drag column header left or right. 'ight click on any header, deselect3select from list. Click and drag left or right on boundaries between column headers, Type te,t in filter bo,2 e.g.8 vo8 to list in Track anager only those tracks whose name includes vo. Dupports use of ?BT and B' filters2 e.g. 7bass B' guit8 will find all tracks with either bass or guit as part of their track name. -se the appropriate *p%ions menu commands to also ,ide fi/%ered-ou% %rac(s in -9P and3or ,ide fi/%ered-ou% %rac(s in )i4er. The 9/ear button removes the filter. There is also an option on this menu to Fi/%er ou% c$i/d %rac(s on/y if fo/der paren% is fi/%ered-ou%. *f you enable the option 9/ose %rac( )anager on en%er (ey in fi/%er bo4 from the *p%ions menu, then pressing (nter in the filter bo, will automatically close the Track anager. Drag and drop tracks up or down. This can be disabled by disabling A//o' reordering %rac(s via %rac( )anager from the conte,t menu.

9$ange -9P %rac( order in %rac( )anager

For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) %QP

Up and Running: A REAPER User Guide v 4.59

-o do %$is > 7e/e%e %rac( 6$o'&$ide 3as%er 6$o'&$ide %rac(s in -9P&39P 6cro// %rac( in%o vie' 6e%&c$ange %rac( co/or *pen&s$o' %rac( F8 c$ain Add F8 %o %rac( or open an F8 'indo' *pen&s$o' %rac( 1npu% F8 c$ain 3oni%or p/ug-in de/ay co)pensa%ion Ar)&unar) %rac(s for recording 3u%e&un)u%e %rac(s > you do %$is Delect track row and press 7e/e%e. Kou will be prompted to confirm this. Toggle 6$o' )as%er %rac( in %rac( )anager in *p%ions button menu. Click in track row in TCP3 CP columns. Kou can use the toggle option Aon the *p%ions buttonE to .in( -9P&3i4er visibi/i%y to synchroni<e track display. Dupports 76'ipe8 Asee last row of tableE. Double.click on track number in Z column. Click on colored icon to left of track number. The F8 column shows the number of F; in each track:s F; chain. Double.click on that cell to open the F; chain for that track. 'ight click over the track:s F8 ce// and use conte,t menu. The 1=-F8 column shows the number of F; in each track:s *nput F; chain. Double.click on that cell to open the input F; chain for that track. )ny plug.in delay compensation used by a track:s F; will be indicated Ain msE in the track:s P79 cell. Clicking on this cell toggles track F; bypass. Click in the R column for any trackAsE to arm for recording. The letter ' will be shown for armed tracks. Click again to unarm. Dupports 7 6'ipe8 AbelowE. 'ight click on any cell in this column to display record menu for that track. Click in the 3 column to toggle mute status. )ll the modifier keys used in the TCP can be used here G e.g. Ctrl ute to unmute all. 'ight.click for TCP mute conte,t menu G see Chapter &.!. )lso supports 76'ipe8 AbelowE. Click in the 6 column to toggle solo status. )ll the modifier keys used in the TCP can be used here G e.g. Ctrl )lt Dolo to solo e,clusive. 'ight.click for TCP solo conte,t menu G see Chapter &.!. )lso supports 76'ipe8 AbelowE. Click in the .oc( column to toggle lock status. Oocked tracks display a J sign. Dupports 76'ipe8 Asee last row of tableE. Double.click a track:s *D* cell to open track *D* items in new *D* (ditor. *f item is already open, double.click to close. 'ight.click in cell for menu of options2 *pen in ne' 3171 edi%or? *pen in e4is%ing 3171 edi%or? *pen in e4is%ing 3171 edi%or Ec/ear edi%or firs%F or Re)ove fro) 3171 edi%or. The third of these options removes from the *D* editor any tracks3items already open before opening this one. Click in the F1P3 column to toggle on3off Free *tem Positioning. F*P shows a J sign. Dupports 76'ipe8 Asee last row of %ab/eF. on

6o/o&unso/o %rac(s

.oc(&un/oc( %rac( con%ro/s 3anage 3171 i%e)s

Free 1%e) Posi%ioning on&off %ogg/e FreeDe&unfreeDe %rac(s 6or% -rac( 3anager /is% 6'ipe %o %ogg/e severa/ ad:acen% %rac(s 3anage %rac( groups

Delect trackAsE in Track anager window, then choose whichever action you wish from the FreeDe button menu. Dee also Chapter P. Click on any column header. Click again to reverse sort order. For e,ample, to arm several ad@acent tracks for recording, or to mute several ad@acent tracks, or to enable free item positioning on a series of ad@acent tracks. Click and drag3sweep down the appropriate column. The track manager will respect grouped track parameters AChapter &.%1E. )s with the grouping matri,, you can use 6$if% to temporarily over.ride these.

*n the e,ample shown above this table, the Voca/ and Acous%ic Gui%ar tracks and folders are the only ones shown in the TCP. )ll tracks are shown in the i,er. The Voca/s folder settings have been locked. >oth the Vo4 .ead and Vo4 ,ar)y tracks are soloed. They are also F*P enabled. The Reverb track uses plug.in delay -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 %QR

## - Pro:ec% 3anage)en% Fea%ures

compensation of P%! ms. Tracks !, 1, P, R, and %% have all been fro<en, track %% twice. -ip: Kou can use the 6creense%s window to save different sets of Track anager settings as Track Siews, any of which can be recalled in an instant. Dcreen sets are e,plained later in this chapter.

##.9

-rac( Vie' 6creen 6e%s

Dcreen Dets enable you to save several different views of your pro@ect, so that you can easily select and recall them when editing or arranging. There are two types of Dcreen Det G Track Siews and =indows. -rac( Vie's are created and saved on a per pro@ect basis G the screen set data is stored in the pro@ect:s .'PP file and can be recalled only when you are working with that pro@ect file. -sing track view screen sets can be especially useful when you are editing or in some other way working closely with media items. +indo's screen sets are global and are stored in the )pplication Data screensets.ini file. They can be recalled from, and applied to, any pro@ect file. The procedure for creating track views is2 -se the Vie'? 6creense%s&.ayou%s command to show the Dcreen Dets window Athe default keyboard shortcut is 9%r/ EE. The Dcreen Dets window may be docked Aor undockedE, and Aif undockedE pinned to stay on top. )d@ust your track layouts to suit. Delect a number from the Track views page of the Dcreen Dets window. Click on 6ave and name the set.

Kou can create up to %" track view screen sets per pro@ect file. To recall a view, double click on its name. Kou can also assign keyboard shortcuts to individual screen sets. >y default, 6$if% F4 to 6$if% F@ are used to save your first three track views, and F4 to F@ are assigned to load each of these first three track views. *f you want to modify these, or assign shortcuts to other track views, then you should click on the Edi% s$or%cu%s button in the Dcreensets window. This opens the Ac%ion .is% Edi%or. For instructions on how to use the )ction Oist (ditor, see Chapter %1. ?otice that there is also an option available to Au%osave '$en s'i%c$ing screense%s. *f enabled, this ensures when switching from one screen set to another that any changes made to the layout of the first of these screen sets will be saved. The Edi% fie/ds... button can be used to 7tweak8 this, so that only certain aspects of your changes are automatically saved.

E4a)p/e
%. Bpen the file A// -$roug$ -$e =ig$%.RPP and save it as A// -$roug$ -$e =ig$% -RA9H V1E+6.RPP. )d@ust the track height of your Vo4 track as shown here ArightE. For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) %Q#

!.

Up and Running: A REAPER User Guide v 4.59

1. &. P. R. #. *n the Track Siew page of the Dcreen Dets window, click on #, then 6ave to open the 6ave -rac( Vie' window. Type2 Vo4 Vie' but do not yet press En%er. Take a look at the five options that are available. =e:ll e,amine these shortly. For this e,ercise, make sure that only -rac( con%ro/ pane/ s%a%us is selected. Click on 6ave. ?ow ad@ust the track heights so that all tracks are minimi<ed e,cept the two guitar tracks. ake these two tracks high enough to show all track controls.

6.

Q. %". )gain make sure that only -rac( con%ro/ pane/ s%a%us is enabled and type Gui%ars Vie'. Press En%er. %%. To switch between these track layouts, double.click on their names in the Dcreen Dets window. This simple e,ample has introduced you to screen sets and how to use them. >ecause we selected only the option -rac( con%ro/ pane/ s%a%us the pro@ect track layout was the only information saved with this screen set. ?otice the five options that you may choose to include in or e,clude from a track view2 Track Cursor Position Track Dcroll Position Mori<ontal Toom Track Control Panel Dtatus Track i,er Dtatus Oet:s then now work thru a further e,ample which use options other than track height.

*n the Track views window, click on !. Click on 6ave to open the 6ave -rac( Vie' window.

E4a)p/e
%. !. 1. &. P. Mori<ontally <oom your pro@ect so that only the first &P secs is displayed. Position the cursor at the &R sec mark. *n the track view page of the screensets window, click on A then on 6ave. ake sure that B?OK -rac( cursor posi%ion and ,oriDon%a/ Doo) are selected. Type a name for the screenset2 Verse #. Click on 6ave.

Kou can now at any time use track view screen set 1 to <oom to Serse % and position the play cursor there, and either of the other two screens sets to then <oom vertically to either the vocal or the guitar tracks. To remove any screen set that you do not wish to keep, simply select it and click on the 9/ear button.

-rac( 3i4er 6%a%us

?otice that one of the options that you have when saving track view screensets is -rac( 3i4er status. This option can be used to save any -rac( 3anager settings regarding which tracks are and are not displayed in the i,er at any time. Dwitching between different track views would then automatically select different selections of tracks to be shown in the i,er. Do not confuse this with the option 3i4er f/ags in +indo's screen sets, which allows you to select not which tracks but which mi,er elements and options AF; inserts, sends, multiple rows, etc.E are applied. =o%e: )s you ad@ust the height and3or width of your track panel, the display area for track controls will become smaller or larger. Dome control will disappear and reappear. )n e,ample is shown here.

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## - Pro:ec% 3anage)en% Fea%ures

##.#" +indo's 6creense%s
-nlike track view Dcreen Dets, =indows Dcreen Dets are not pro@ect specific, but can be applied to any pro@ect. They are stored in the )pplication Data folder in a file called screensets.ini. )fter opening the Dcreensets3Oayouts view A9%r/ EE, the procedures for creating =indows screen sets are as follows2 Decide which windows and views you want displayed, and arrange them on screen as you wish. *n the Dcreen Dets window, select the +indo's page, select a number, then click on 6ave. Type a name, then select as many of the si, options as you reHuire Asee belowE. Click on 6ave. To recall and open any screen set, simply double.click on its name. To change a screen set, open it, make the changes, then save it. Kou can also use keyboard shortcuts with =indows screensets. >y default, 6$if% FB to 6$if% F9 are assigned to saving =indows screen sets % to 1, and FB to F9 are assigned to loading them. These assignments can be changed in the )ctions Oist (ditor Asee Chapter %1E. The options that you may choose to include in or e,clude from any screen set are2 ain =indow Position Tool =indow Positions Docker Delected Tab i,er Flags Oayouts Oast Focus

Dome of these are self.e,planatory. *n addition, note that2 The %oo/ 'indo' posi%ion option will cause the position of those windows which are defined by =indows as tool items Asuch as SDT F; and the *D* (ditorE to be saved and recalled with the screen set. For any particular pro@ect, however, this will only be applied if that particular window e,ists in that pro@ect. This option is useful, for e,ample, if you use a set of standard plug.ins in the aster and you want to easily be able to open and close all these F; windows when working with any pro@ect. (nabling doc(er se/ec%ed %ab will ensure that whichever window in the docker is visible when the screen shot is saved will be visible when it is recalled. The )i4er f/ags option, if enabled, will save your various i,er menu options AF; inserts, sends, folders, top level tracks, position of master, etc.E with the screen set. These options are discussed in detail in Chapter %". =e encountered /ayou%s in Chapter %", in the conte,t of the i,er. Kou:ll find more information about Oayouts later in this chapter. (nabling this option will ensure that your layouts are saved with the screen set. The /as% focus option can be selected to ensure that a particular view automatically is given focus whenever the Dcreen Det is loaded.

For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) %QQ

Up and Running: A REAPER User Guide v 4.59

##.## Au%o 6aving 6creen 6e%s
Kou have the option to automatically save changes to your Track Siews or =indows screen set layouts. To do this, simply ensure that the Au%o-save '$en s'i%c$ing screense%s option is selected Asee rightE. This can be used to ensure for e,ample, that if you change the selected tab to be displayed in the docker before switching to a different =indows screen set, when you return to the first screen set, '()P(' will have remembered which docker tab was last selected. *f using auto.save, consider using the Edi% fie/ds... button to decide which elements for which you want changes automatically saved Asee rightE. The available options are all items that were included in your options when you created your screen sets.

##.#! 1%e) 6e/ec%ion 6e%s

>y using item selection sets, you are able to create many different selections of items within a pro@ect file and select all of the items in any set simply by selecting that set name. The procedure is as follows2 -se the command Vie', 6creense%s&.ayou%s to display the Dcreensets window. Delect the 6e/ec%ion se%s tab. =ithin your pro@ect, select all of the items to be included in the group. These can be on a single track or across any number of tracks. Delect a set number, then click on 6ave. /ive the group a name and press En%er. )t any time you can now recall that group by double.clicking on its name, or by selecting the name and clicking on .oad. *n the e,ample shown here, two selection sets have been created, one for So, Serses and one for So, Choruses. Dimply by double.clicking on the reHuired set name, we can select all of the items in either set.

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## - Pro:ec% 3anage)en% Fea%ures

##.#A -rac(? 3i4er? -ranspor% and Enve/ope .ayou%s
Oayouts in general, and mi,er layouts in particular, were introduced in Chapter %". Oayouts are created, stored and retrieved with individual themes. -sing the .ayou%s tab of the Dcreensets3Oayouts window you can select any theme from the drop down theme list. Oayouts are designed and created using a software tool called =)OT(' A=indows )rrangement Oogic Template (ngine for '()P('E and are associated with individual themes. )ny layouts associated with your chosen theme will be available to you from the various drop.down lists in this window, such as track panel layouts and mi,er panel layouts. For earlier themes that do not include any layouts, a number of standard layouts are available. Dhown right is an e,ample, in this case double.clicking to display the i,er Panel drop down list and to select a mi,er layout. This is an e,ample only G the e,act range of choices available to you may not be e,actly the same as shown here. ?ote that when one of these drop down lists is displayed. Kou can hover your mouse over any item to see how it looks, in this e,ample in the mi,er. Mere is a summary list of the main layout elements available2 G/oba/ .ayou% -ranspor% Enve/ope Pane/ 3as%er 3i4er Pane/ 3i4er Pane/ 3as%er -rac( Pane/ -rac( Pane/ 6e/ec%ed %rac( pane/ 6e/ec%ed %rac( )i4er pane/ Delects theme defaults for all layout elements. Delects a layout for the Transport bar. Delects a layout for track envelope panels. Dee chapter %R. Delects a layout for the aster in the i,er panel. Delects a layout for all tracks and folders in the i,er panel. Delects a layout for the aster in the Track control panel. Delects a layout for all tracks and folders in the Track Control panel. Delects a layout for selected tracks in the Track Control panel. Delects a layout for selected tracks in the i,er panel.

Dhown here is an e,ample of one possible track layout that you might choose. ?otice that this particular layout uses vertical Smeters. ?ote that you do not need to open the Oayouts window to select layouts for a pro@ect. Kou can also use the *p%ions? .ayou%s command from the main menu or the 6e% %rac( /ayou% command from the TCP conte,t menu.

For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) !"%

Up and Running: A REAPER User Guide v 4.59

Assigning Ac%ions %o .ayou%s
=ithin the Oayouts screen you can assign up to !" actions to Huickly recall any layout. These can be assigned to shortcut keys and3or to custom toolbars. *n the e,ample shown here, )ction V% has been assigned to select a Track Panel layout called Tracking and )ction V! is being assigned to select a different Track Panel called Sertical Avertical metersE. Kou could then click on the Edi% s$or%cu%s button and assign shortcuts to the two actions .ayou%: app/y cus%o) /ayou% Z"# and .ayou%: app/y cus%o) /ayou% Z"!. Kou could also use the 9us%o)iDe %oo/bar editor to create icons for these actions on one of your toolbars. Dee Chapter %1 for information on both how to assign keyboard shortcuts and how to create custom toolbars.

7efau/% -$e)e .ayou%s

The drop down lists in the various Oayouts categories include many options that you can e,plore. These include -rac( Pane/ specialist layouts for recording and tracking, and layouts with vertical meters. 3i4er Pane/ layouts include narrow channel strips and wider strips with a sidebar to display F; chains, sends, etc. Asee e,ample rightE.

##.#4 Fur%$er Pro:ec% F8 3anage)en%

=hile looking at pro@ect management features, it:s worth taking an overview of some of the options tucked away behind the Para) button in '()P(':s F; plug.in windows. *n chapters %R and %# you:ll see how this can also be used to create automation envelopes and for parameter modulation. eanwhile ... *f you touch any F; control Asuch as a faderE with your mouse and then click on the Para) button you will see a menu similar to that shown here. *n summary, these options are2 6$o' in %rac( con%ro/s. )dds a rotary fader to TCP and AoptionallyE CP for ad@usting that parameter:s value. Dee Chapter %" and below. 6$o' %rac( enve/ope. )dds an envelope for automating that parameter G see Chapter %R. Para)e%er )odu/a%ion. (nables parameter modulation for this item G see Chapter %#. .earn. )llows you to assign this parameter to an e,ternal control device, such as a fader or button on a control surface G see below. A/ias para)e%er. )llows you to assign your own name to this one instance of this parameter. This name will be used, for e,ample, on any track control or envelope that you create for this parameter. F8 para)e%er /is%. This causes a flyout menu of a list of all parameter controls for this F; to be shown. -sing this menu is another method of assigning Aor unassigningE any of these options to any parameter, rather than touching it with your mouse G see right. -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 !"!

## - Pro:ec% 3anage)en% Fea%ures

-$e .earn *p%ion
Oet:s take a closer look at the .earn option. =hen you touch the control in the F; window with your mouse and then click on .earn the Oearn window is displayed Asee belowE. Twiddling the control Asuch as fader or rotaryE on your control surface device will cause information to be displayed in the 9o))and window about the channel and CC assignment for this control. This information is picked up from the control surface. Choice of CC mode Aabsolute or relativeE will depend on the parameter being assigned and your own control device. *n many cases, absolute mode with soft takeover will be appropriate, but you may need to e,periment. The option to Enab/e on/y '$en effec% configura%ion is focused is especially powerful G it means that this control surface assignment will only be used when that particular plug.in has focus. This enables you to assign the same control surface fader to any number of different functions with different plug.ins. For e,ample, the same fader used to control (F gain in one plug.in could also be used to control the threshold setting on a compressor. =hen one or more parameters in a plug.in has been assigned to a control surface, you will see an e,tra command on the Para) menu G 7efau/% con%ro//er )appings. This leads to a flyout menu ArightE. Kou can use this menu to save these settings as the default for this plug. in, so that these controls will be automatically made available whenever that plug.in is loaded into other tracks. Bther options on this menu Awhere a default has previously been savedE are to 9/ear defau/% or Use defau/%.

6$o' in %rac( con%ro/s

=hen track controls are shown in the TCP and CP, they are not only controls for individual parameters. They also serve as a gateway to managing your console. To display these in the i,er, you must enable the option 6$o' F8 para)e%ers '$en siDe per)i%s from the i,er menu. 'ight click over any of the controls in the TCP or CP for menu Asee rightE. This menu includes2 Re)ove fro) /is%. This removes the control from the TCP and CP. .earn? 3odu/a%e? Enve/ope and A/ias. These four options are the same as on the Para) button menu in the F; window. For e,ample, from here you can add control surface support to any of your custom track controls by choosing .earn. P/ug-in 3enu Ashown in the e,ample below are 'ea(F and 'eaDelayE. This lists the plug.ins in the track:s F; chain, together with a flyout menu of all their parameters. Kou can use this menu to add controls for any of these parameters2 the menu includes the option A// para)e%ers.*n the CP, when the option 6$o' F8 para)e%ers '$en siDe per)i%s is enabled, you can right.click in this area for any track to add controls to that track. )n e,ample is shown right. The actual menu that is displayed will, of course, depend on which F; are included in the track:s F; chain. For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) !"1

Up and Running: A REAPER User Guide v 4.59

-rac( -e)p/a%es
>ack in Chapter 1 when you were introduced to recording, we mentioned track templates and how useful they can be. ?ow that you have discovered a lot more about '()P(', it:s worth revisiting this topic. )rguably, track templates more than any other single feature of '()P(' can be your best friend when you are setting up your pro@ects. ) track template can be made up of any track or any selection of tracks. For e,ample, you might have a folder called Drums. This might contain a series of child tracks G Cick, Dnare, Toms, Mi hat, etc. G all of which have their own track F; with their own settings, and with volume and pan faders set at their own levels. Kou could save the entire folder AparentE with its child tracks and all their settings into a single track template called Drum Cit. *tems that get included in track templates include track name, track control settings, track properties Acolor, icon, etc.E, track F; Atogether with their parameter settingsE, track controls, F; alias names and F; parameter alias names, parameter modulation, F; parameters, sends and receives, and more. To save a track Aor selection of tracksE as a track template, choose 6ave %rac(s as %rac( %e)p/a%e from the TCP conte,t menu. To insert tracks from a track template into a pro@ect, choose 1nser% %rac( fro) %e)p/a%e from the same menu.

##.#5 -rac( 9on%ro/ Pane/ and 3enu 5ar ,e/p

) selection of useful information can be displayed below the control panel and at the end of the main menu bar. 'ight click @ust below the track control panel and select from these options2 6e/ec%ed %rac(&i%e)&enve/ope de%ai/s 9PU&RA3 usage? -i)e since /as% save -rac(&i%e) coun% REAPER %ips =o infor)a%ion disp/ay 6$o' )ouse edi%ing $e/p The first five of these options are mutually e,clusive2 that is you can select only one of them. *n the case of the menu bar Aright hand endE, you can select as many or as few of the following options2 6$o' free dis( space 6$o' recording pa%$ 6$o' recording vo/u)e na)e 6$o' recording for)a% 6$o' audio device infor)a%ion This menu also gives you access to the Audio? 7evice page of your preferences and the 3edia 6e%%ings page of your pro@ect settings.

##.#@ Using 3u/%ip/e 7oc(ers

*n Chapter ! you were introduced to working with '()P(':s docker as an aid to navigating your way thru '()P(':s various views and windows. *n fact you are not restricted to @ust one docker2 you can create up to %R dockers if you wish. *n the e,ample shown here, we have two dockers attached to the bottom of the main window and a floating docker. The first docker Abottom leftE contains tabs for displaying the 'outing matri,, the -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 !"&

## - Pro:ec% 3anage)en% Fea%ures

i,er, and the edia (,plorer. The second is used to display at any time the Dcreensets window, the Track anager or the -ndo Mistory. The floating window is a third docker, and this contains tabs for displaying the F; chains for four of the tracks in the current pro@ect. This is, of course, only an e,ample.

These instructions assume that you are already familiar with the basic techniHues for docking and undocking windows, and so on, as e,plained in Chapter !. Kou can attach any docker to the main window in any of the four positions. Kou can also choose the same position for more than one docker Afor e,ample, you might wish to attach two dockers to the rightE. -o do %$is > 7oc( a 'indo' 9rea%e a ne' doc(er 3ove a 'indo' fro) one doc(er %o ano%$er Reorder %abs in any doc(er 9/ose a doc(ed %ab 0ou need %o do %$is ... 'ight.click on the window:s title bar and choose the command 7oc( > in 7oc(er. Drag and drop any tab from an e,isting docker into the arrange view area. Drag and drop the tab from its present docker to its new one. Drag and drop tabs left or right. A/% 9/ic( on tab, or click on tab 4 button.

For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) !"P

Up and Running: A REAPER User Guide v 4.59

-o do %$is > A%%ac$ a doc(er %o %$e )ain 'indo' 0ou need %o do %$is ... Click on the 2 to display the menu, then choose )ttach docker to main window, then select a position Abottom, left, top or rightE. ore than one docker can be attached to any of these positions. Click and drag on the boundary between two dockers docked in the same position to ad@ust the position of the boundary between them Aand therefore the relative si<e of the two dockers. -se this menu also to change the position of a docker, e.g. from top to left.

##.#B 3u/%ip/e Pro:ec% Fi/e Versions

The Pro:ec% page of '()P(':s Preferences includes an option to Heep )u/%ip/e versions, with or without Aas you wishE their own undo histories. *f enabled, using Fi/e? 6ave pro:ec% as... to save a pro@ect Aover writing the previous fileE will cause a new time and date stamped version to be created. Bpening the .'PP file will always open the most recently saved version. Mowever, opening the RPP-5AH file will cause a 9$oose version fro) bac(up fi/e dialog to be displayed. Mere you can select which version you would like to load. =ith multiple pro@ect tabs you are able to have multiple versions open at the same time.

##.#C Associa%ing Rendered +AV Fi/es 'i%$ 6ource Pro:ec% Fi/es

=hen using the Fi/e? Render command to render a pro@ect Aor part of a pro@ectE to .=)S fileAsE, there is an option to 1nc/ude pro:ec% fi/e na)e in 5+F da%a. 'endering is discussed in detail in Chapter %6. *f this option is enabled, the 'PP pro@ect name will be embedded in the rendered fileAsE. This ensures that this 'PP file will remain associated with the rendered =)S fileAsE. *f any file rendered with this option enabled is subseHuently inserted into another pro@ect, then the command *pen associa%ed pro:ec% in %ab: 444.RPP Awhere 7,,,8 represents the associated pro@ect file nameE will appear under *pen i%e)s in edi%or on the media item conte,t menu.

This can be used to create a new pro@ect tab into which it will open the associated 'PP file.

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#! - 3anipu/a%ing and Edi%ing 3171 1%e)s #! 3anipu/a%ing and Edi%ing 3171 1%e)s
#!.# 1n%roduc%ion
'()P(' has a number of techniHues for manipulating and editing your *D* items. *n brief these are2 any of the commands on the right.click media item conte,t menu can be used with *D* items as much as they can with audio items G for e,ample you can create and manipulate multiple takes, add *D* F; to a takeIs F; chain, cut, copy and move items, and so on. *n addition, there are commands on the right.click item conte,t menu that are specific to *D* items and only *D* items. =eIll get to these soon enough. Kou can open any *D* items or selection of *D* items in '()P('Is *D* (ditor for detailed editing. Kou 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 Huick *D* editing, you can edit the track in.line. This makes the itemIs content available for editing without needing to open a separate *D* editing window. This is covered near the end of this chapter. >efore looking at editing, however, we:ll resolve a couple of other issues of importance to *D* users.

#!.!

3oni%oring an E4%erna/ 6yn%$esiDer

*D* or audio input. $ust do this2

)n e,ternal synthesi<er can be monitored using Ac%ivi%y 3oni%or using 3171 1npu% Procedures

*nsert a track and name it. )rm it for recording and turn record monitoring on Det record mode to Disable Ainput monitoring onlyE Delect *nput2 *D*, then the device, then the channelAsE Bpen the track:s routing A*3BE window, select your *D* Mardware Butput. *nsert a track and name it. )rm it for recording turn record monitoring on Det record mode to Disable Ainput monitoring onlyE Delect the necessary mono or stereo audio input from the synth:s audio interface.

3oni%or using Audio 1npu%

#!.A

Using -rac( 9on%ro/s 'i%$ 3171

)s mentioned in Chapter &, '()P(':s track volume and pan controls by default control a track:s audio signals. *f you wish to use these for *D* instead, you can do so. 'ight click on the track number in the TCP or CP and choose 3171 -rac( 9on%ro/s then select one of the .in( %rac( vo/u)e&pan %o 3171 options from the menu. Kou can choose all channels or any individual channel. Kou can also use the plug.in Rea9on%ro/ 3171 with any track. This is e,plained in detail in Chapter %&.

#!.4

9on%ro//ing 3171 7a%a 6ends

'()P(':s sends and receives can be used with audio items, *D* items, or both. Kou have already been introduced to this topic AChapter &E, and it is covered in more depth in Chapter %P. eanwhile, note that the button indicated on the right can be used to ensure that a send:s fader controls are used to control the *D* data. =ith this button enabled, CC messages CC"# for Solume A%!#, ma,E and CC%" Pan AR&, centerE are sent on the selected channels Aby default, all channelsE. *f there are any *D* items Aeven empty onesE on the sending track, they are sent when transport starts or stops, or play position changes. Mowever be aware that not all synths and plug.ins recogni<e this feature. For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) !"#

Up and Running: A REAPER User Guide v 4.59

#!.5 Accessing %$e 3171 Edi%or

The *D* (ditor needs to be opened from an e,isting item. *f you wish to open it with a 7clean sheet8 then you must first create a new empty *D* item. To do this, select the reHuired track and AoptionallyE make your time selection to define the length of the item. Then choose 1nser%? =e' 3171 1%e) from the main menu. >y default, *D* items created in this way are loop enabled. Kou can change this for an individual items within its edia *tem Properties dialog bo,, or globally on the Pro:ec%? 3edia 1%e) 7efau/%s page of your Preferences settings. To open the *D* (ditor with a single *D* item Aeither already recorded or created emptyE, you can use either of these methods2 -nless you have changed your default mouse modifier preferences, double.click on the *D* item in )rrange view, or Delect the item and press the default keyboard shortcut 9%r/ A/% E, or 'ight.click on the item and choose *pen 1%e)s in Edi%or, then *pen 1%e)s 'i%$ 5ui/%-in 3171 Edi%or from the conte,t menu.

1)por%an% =o%e2 '()P(':s options allow you to change the default behavior when opening an item Aor selection of itemsE in the *D* (ditor. For e,ample, you might Aor might notE want them opened in an e,isting *D* editor window. These options are e,plained in Chapter %Q, and will also be considered later in this chapter. To open all of the *D* items on the same track together in the same *D* editor window first select and right. click on one of the reHuired items, then choose 5ui/% in 3171 edi%or, then *pen a// %rac( 3171 in ne' edi%or from the conte,t menu.

#!.@

-$e 3171 Edi%or +indo'

=hen you open an item in the *D* (ditor you will see a display similar to that shown below. *t includes2 -$e 3ain 3enu. =eIll take a detailed look at the main menu, its various commands and actions shortly, but first you need to understand some more about the interface and how to navigate it. -$e -op -oo/barEbe/o' 3ain 3enuF Mover your mouse over any button for a tooltip. Kou can customi<e this toolbar to meet your own reHuirements Asee Chapter %1E. The default toolbar icons are described below Aleft to rightE. -rac( .is% and 3edia 1%e) .ane These buttons open AonE and close AoffE the -rac( .is% and 3edia 1%e) .ane panels. *n the illustration below, both these are set to Bff. These are e,plained in the section +or(ing 'i%$ 3u/%ip/e -rac(s and&or 1%e)s.
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#! - 3anipu/a%ing and Edi%ing 3171 1%e)s

Fi/%er 5u%%on

This is the third button on the toolbar. *t opens up the Filter (vents window which allows you a great deal of fle,ibility in deciding which information you want displayed in the *D* (ditor. Asee rightE. Ticking the (nable Filter bo, ensures that the options are visible. Kou can choose to display all channels, or any combination or permutation of channels.
The Even% -ype drop down list lets you select any type of event that you want filtered. The default is A//, but you can change this to ?otes, Poly )ftertouch, Control Change, Channel )ftertouch, Pitch or Dyse,3 eta. The Fi/%er Even%s window can be used to select which data channels are displayed in the *D* (ditor. The content of the Para)e%er drop down list depends on the event. For e,ample, for ?ote, it will show a list of notes, with options to filter on ranges of velocity and3or length. For Program Change it will show a list of program numbers. The items .o' and ,ig$ can be used with some event types but not others. For e,ample, if the event type is ?ote, you can enter two numbers between " and %!# to restrict the range of notes displayed. *f you choose Program Change, then low and high values have no meaning. ?otice also that the filter bo, has Anear the topE an Enab/e Fi/%er option which can be toggled on and off. To the right of the filter button are four toggle icons, Puan%iDe Aon3offE, 99 se/ec%ion fo//o's no%e se/ec%ion, 6$o' grid and 6nap %o grid. 'ight.click over the Dnap to /rid button to set behavior for when snap is enabled G A/'ays snap no%es %o %$e /ef%, 6nap no%es %o end of grid Athe defaultE, or 6nap re/a%ive %o grid. The final icon 7oc( edi%or can be used to dock and undock this window Ain '()P(':s dockerE as reHuired. )t the far right of this toolbar is a drop.down c$anne/ fi/%er list. =o%e: *f both edia, *D* preferences to 9rea%e ne' i%e)s as .317 fi/es and 1)por% e4is%ing 3171 fi/es as .317 fi/e reference are enabled, this toolbar will on the left display two further buttons . Fi/e? 6ave 3171 fi/e and Fi/e? Rever% %o saved 3171 fi/e. -$e Ru/er *f in '()P(':s main window the option to link loop points to time selection is enabled, click and drag along the ruler to define loop and time selection. Btherwise, click and drag along the ruler for loop selection or along the boundary between piano roll view and CC lane view to define a time selection. -$e -ranspor% 5ar

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Up and Running: A REAPER User Guide v 4.59

This is found at the bottom of the *D* (ditor window. *t contains the transport buttons and a number of drop down lists. The first si, buttons Aleft to rightE can be used to rewind, start, pause playback, stop playback, @ump to end, and to toggle repeat loop mode on3off. The loop area can be set on the timeline in either the *D* (ditor or the )rrange window. There are also some drop down lists. From O to ', these are2 Grid This is the grid division bo,. *t is used to specify your reHuired grid division unit. ?ote that the units is ?otes, and that you can select from any of the values listed G %3%!6, %3R&, %31!, %3%R, %36, %3&, %3!, %, ! or &. Grid spacing %ype Bptions here are straight, triplet, dotted or swing. *f you choose swing, several other parameters will also be displayed on this bar. These are discussed later in the conte,t of Huanti<ing. =o%es This is used to select the default note length Ae,pressed as a fraction of a noteE that is used when new notes are added. *n the e,ample above, this has been set to be the same as the grid setting. *t can be overwritten using the main menu *p%ions? 7ra'ing or 6e/ec%ing a =o%e 6e%s =o%e .eng%$ . 6ca/e and 9$ord (nabling the snap to scale option allows you to select a scale and a chord from the two drop down lists. Kou can also use the chords button Ahere labelled 7 a@or8E to load a '()P(' .reascale file. 9o/or -se this drop down list to select whether you wish to use color to display differences in Ve/oci%y, 9$anne/, Pi%c$, 6ource, -rac( or 3edia 1%e). -rac( .is% =here the pro@ect file has more than one track that contains *D* item, this can be used to select which track is to be made active in the *D* editor. 9$anne/ -se this to select a channel from % to %R for current editing Aor choose )llE. -ip: The Vie'? Piano Ro// -i)ebase menu includes the options source beats, pro@ect beats and pro@ect time. *D* data is always defined in beat.based terms, but in the time view mode the grid is ad@usted to reflect any tempo changes in the pro@ect. *f there are no tempo changes, the beat and time views will be identical. Kou also have the option to select Pro:ec% synced. This synchroni<es the timeline of the pro@ect and *D* item together. *t also ensures that both windows are synchroni<ed during such actions as <ooming and scrolling. -$e 3ain +indo' The main window by default consists of two panels. The larger AtopE panel displays your *D* notes. *t is where you do your editing. The e,ample shows the default view, which is Piano 'oll Siew. Clicking on any piano key will cause that note to be played. The smaller AbottomE panel is the CC lane, which can be used to display various types of information. *n the e,ample here, the velocity of each note is shown. -$e 6cro// 5ars The *D* (ditor window includes vertical and hori<ontal scroll bars which can be used to navigate and <oom in and out of the contents of the *D* itemAsE. -$e 99 .aneEsF >y default, Ve/oci%y information is shown in the CC lanes. To change this, either2 Click on the drop down arrow ArightE to see a menu of items Aincluding standard *D* control messagesE that you can choose to display in the CC Oane instead of velocity. ) small selection of the available choices are shown on the right, or Click on the small W button ne,t to the drop down list arrow to add e,tra CC lanes. Delect any item from the drop down list to display in the selected lane. 'ight.clicking over the shaded area at the edge of the top border of a CC lane will produce a menu that can be used to hide a CC lane, clear it, change its contents ADet laneE, or add an e,tra lane. ?ote2 Oike the other *D* (ditor menus and toolbar, the CC lane menu can be customi<ed. Dee Chapter %1 for more information about how to customi<e menus. -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 !%"

#! - 3anipu/a%ing and Edi%ing 3171 1%e)s

To remove a lane from view, click on the small minus sign that appears to the immediate right of its drop down arrow. Provided the lane height is tall enough, the e,istence of CC messages can also be seen on the *D* item in the main window Asee rightE.

#!.B

9on%ro/ 9$ange 3essages

Control change messages are used to change the status of a *D* parameter. *f using an actual *D* device, these messages can be used to physically control the foot pedals, volume sliders, modulation wheels, and other controls on electronic instruments. =ithin '()P(', control change messages can simulate this effect when playing back your *D* data thru a software synthesi<er. Controller data is used for various purposes. The different controller data streams are numbered from " to %!#. Dome of these controller numbers are industry standard. For e,ample, controller # is generally used to control volume and controller %" for panning. ) control change message has two parts. The first is the control change number, which determines which parameter is to be set. The second is the desired value for that parameter. For e,ample, first, you might send a CC V# message to specify that you want to ad@ust volume. ?e,t, you send a value that sets the actual volume level reHuired. ) control change message can act as either an override Asetting the parameter to the e,act value specifiedE, or an offset Aad@usting the parameter up or down by the amount specifiedE.

365 and .65

D> and OD> stand for ost Dignificant >yte and Oeast Dignificant >yte respectively. D> control change messages typically act as coarse controls, while OD> messages generally allow fine ad@ustments. Dome control change messages have both D> and OD> versions. ost *D* devices that contain sounds3patches respond to both >ank Delect D> and OD> control change messages. Dome of the more commonly used cc parameters are listed below. DonIt worry if you donIt understand them all. Kou should consult your *D* deviceIs documentation for more details.

Para)e%er
5an( 6e/ec% 365 5an( 6e/ec% .65

7escrip%ion
any *D* devices offer a total of more than %!6 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 G cc V" A>ank DelectE, followed by the Dound >ank D> value, then cc V1! A>ank Delect OD>E followed by the Dound >ank OD> value, then finally the Program Change number. Program change numbers are discussed in more detail in the sub sections that follow after this one.

Ve/oci%y 3od +$ee/

The measure of the speed with which a key on a keyboard is pressed. This can add vibrato or other changes to a sound. For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) !%%

Up and Running: A REAPER User Guide v 4.59

Para)e%er
5rea%$ Por%a)en%o 5a/ance E4pression 6ound -i)bre 6ound Re/ease 6ound A%%ac( 6ound 5rig$%ness

7escrip%ion
Saries from " Ano forceE up to %!# Ahigh forceE. Determines the smoothness of the glide from note to note Typically used to ad@ust the volume of stereo parts without affecting the panning. -sed to create relative volume changes. The property of a sound that gives it its uniHue 7color8. Determines how long it takes for a sound to fade out. Controls how long it takes for a sound to fade in. This ad@usts a soundIs filter cutoff, allowing you to create filter 7sweeps8.

#!.C

9on%ro/ 9$anne/ 5asics

*D* Data Control Channel ACCE messages can be recorded during live performance, and edited or manually entered using the CC lane in the *D* (ditor. The CC Oane appears at the bottom of the *D* (ditor. Data is displayed hori<ontally according to its position on the Timeline, and vertically according to the value of the data. ost CC data has a value of " at the bottom of the CC Oane, and %!# at the top of the CC Oane. The e,ample ArightE shows Selocity. (,ceptions to this rule include Pitch, Pan and Pan Position, which are displayed as positive or negative variations from a centre line. The information displayed in the CC Oane is selected from the drop. down list at the left of the window. CC Data is entered or edited by dragging the mouse to the reHuired value. To delete an event, select it, then press 7e/e%e. The ouse odifiers page of '()P(':s Preferences includes the ability to customi<e left click3drag and double.click behavior when working with *D* CC events.

#!.9 +or(ing 'i%$ 3171 Edi%or .anes

There are a few especially interesting items that you can display in your lane or lanes that are not included in the above table. These are worth a special mention, because they might otherwise slip under your radar. They are Dystem (,clusive messages, Te,t (vents, and >ank3Program Delect.

#!.9.#

6yse4 Even%s

Dystem e,clusive ADyse,E messages are *D* data that can only be understood by the particular make and model of the device that created them. For e,ample, all synthesi<ers should respond to CC messages like Solume or Pan control, but system e,clusive messages created by a 'oland synthesi<er would not be understood by, say, a Kamaha synthesi<er. Kou can add a lane which can be used to manage system e,clusive ADyse,E messages, as shown above. *n this e,ample, a Dyse, lane is displayed in addition to a Selocity lane. -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 !%!

#! - 3anipu/a%ing and Edi%ing 3171 1%e)s

Dome *D* hardware, especially older devices, accept syse, messages as a way to initiali<e or change settings on the device. Dyse, messages are raw *D* data, represented as a list of he,adecimal bytes. Dyse, events may be added, edited, moved, or deleted in the same way as te,t events Asee belowE. Double click in the lane to open the Add 6yse4 Even% dialog bo,, enter the message and click on *H. Click, hold and drag on any syse, event to move it. Double click on any e,isting syse, event to edit it, or right click to delete it.

#!.9.!

-e4% Even%s

The -e4% Even%s option lets you display a CC Oane which can be used to display te,t in a lane below your *D* notes. These could be, for e,ample, lyrics, or marker information or any of the other available te,t types. $ust double click at any point in the lane to open the Edi% -e4% Even% dialog bo,, type your te,t, specify its type, and click on *H. )s with system e,clusive events, double click on any e,isting te,t event to edit it, drag it to move it, right click to delete it.

#!.9.A

5an(&Progra) 6e/ec%

=hen you choose the 5an(&Progra) 6e/ec% option for a CC lane, you can double click at any point to open the 5an( Progra) 6e/ec% dialog bo,. Mere you can select any bank3program combination, and assign it to any channel. The bank3program combinations available to you will depend on what instruments you are using Asee e,ample, rightE. *f using a synthesi<er which has its own instrument definition files, you can load a file into the *D* (ditor by clicking on the .oad Fi/e button, then navigating to its directory, then selecting it. )n e,ample of the use of program changes is shown here. To edit any program change message, @ust double click on its CC Oane bar. This will open the >ank3Program Delect window for you to make your changes. )lso, click and drag to move a program change message, double.click to edit it. To delete it, simply right click over its CC Oane bar.

#!.#" Using 3171 99 .anes: -ips and -ric(s

'()P(':s *D* CC lanes include a number of additional features. Mere are some that you might find useful.

#!.#".#

Genera/ 99 .ane Edi%ing -ec$niIues

any of the CC message types G such as od =heel, >reath, Portamento, Pan, Solume etc. G can be e,pressed as a continuous range of values, rather than as discrete items Ain the way that te,t events, for e,ample, areE. For messages of this type there are a number of standard techniHues you can use to enter, edit or delete them. To enter a single message, click and move Agently pushE the mouse in the appropriate CC lane at the reHuired point. The nearer the top of the lane, the higher the value of the message. To change the value of an e,isting message, click and drag it up or down. To delete a message, right click over it. )lt right click sweep will delete a series of messages.

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Up and Running: A REAPER User Guide v 4.59

Kou can click.hold.drag.sweep to insert a continuous seHuence of messages. The e,ample shown ArightE causes the notes to be panned in increments first to the left, then to the center, then to the right, then back to the center again. The faster you sweep, the greater the interval between individual events.

#!.#".!

Rig$% 9/ic( 3arIuee 6e/ec%ion

Kou can right.click and drag within any CC lane to make a selection of multiple events. Maving made your selection, you can work with them in the CC lane, as well as Aif appropriateE in the piano view window. For e,ample, if the CC lane displays Selocity, then there will be one event shown in the CC lane for each note in the piano view. Delecting the events in the CC lane will also select the corresponding notes in the piano roll view. Kou could then work with those selected events in the *D* (ditor or work with them in the CC lane itself. For e,ample you can2 Delete them. )d@ust their values Aup or downE. 'ight click over the CC lane for a conte,t menu Asee rightE. This can be used to nudge or move the selected events. Click and drag to move the selection left or right, control click and drag to copy. The e,act behavior here will be determined by whether the individual CC events are directly linked to individual note events. *n the e,ample shown here, this would be the case with the velocity events but not the pitch change events. Thus, in the former case AvelocityE you would need to move the events in the piano view window itself and the velocity events would move with them. *n the latter case Apitch changesE, you would move the events in the CC lane itself.

#!.#".A

1n%e//igen% 99 .ane 7ropdo'n .is%

The CC Oane dropdown menu uses markers to show which other lanes already e,ist and contain data, whether they are currently displayed or not. *n the e,ample shown here, this applies to Selocity, Pitch, Program, >ank3Program Delect, Te,t (vents and >reath.

#!.#".4

#4-bi% 99 .anes and Ac%ions

The CC Oane drop down menu includes a complete range of options for %&.bit CC messages. These can be found at the end of the drop down list. There are also actions that can be used to select any message type for any lane. -se of the )ctions Oist (ditor is e,plained in detail in Chapter %1, but in brief2 %. From the *D* (ditor Ac%ions menu choose 6$o' ac%ion /is% > !. *n the )ction Oist, select one of the actions 99: 6e% 99 /ane %o ... Ae.g. Det CC lane to ""# Solume %&.bit or Det CC lane to ""# Solume D>E. Kou can now assign a shortcut key to that action Asee Chapter %1E. Close the )ction Oist (ditor. 1. ?ow you can at any time select a *D* (ditor CC lane and use the shortcut key to use that CC lane for the chosen message type2 e,isting data will be displayed and new data can be inserted and3or edited.

#!.#".5

ResiDing 99 .ane ,eig$%

Kou have three options for changing the height of CC lanes. )ll involve clicking on the dotted 7handle8 Ashown hereE on the 7ceiling8 boundary above the CC lane in Huestion. The mouse cursor becomes a vertical double. headed black arrow. Kou can then drag the mouse up or down. =hen you have only one CC lane displayed all three actions do e,actly the same thing. Mowever, when there are two or more CC lanes shown, these three actions will behave differently. -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 !%&

#! - 3anipu/a%ing and Edi%ing 3171 1%e)s

9/ic( and 7rag: Dimply click and drag up3down to increase3decrease the portion of the *D* (ditor window used to show the selected CC lane. *ncreasing this portion will decrease the height of the piano roll window and vice versa. Bther CC lane heights remains unaffected. 6$if% 9/ic( and 7rag: Dhift click and drag up3down will increase3decrease the height of all CC lanes and ad@ust the height of the piano roll window accordingly. 9on%ro/ 9/ic( and 7rag: Control click and drag will ad@ust the height of @ust the one CC lane, leaving other CC lane heights unchanged. *n addition, you can double.click on the dotted handle Aalso known as 7grippy area8E of any open CC lane to toggle between viewing and minimising it.

#!.## .oop&-i)e 6e/ec%ions and 6)ar% Edi%ing

To move the position of the cursor, click on the timeline ArulerE in the *D* (ditor window. Ooop and time selection within the *D* (ditor will behave in accordance with whether or not you have enabled the option .oop poin%s /in(ed %o %i)e se/ec%ion on '()P(':s main menu. These notes assume that you have this disabled. Kou can select an area to be looped, as in the main '()P(' window, by clicking and dragging along the *D* (ditor timeline Asee rightE. Kou can also use the timeline in the '()P(' main window to define and modify loop areas if you wish. -se the -ogg/e Repea% button on the *D* (ditor Transport >ar to enable or disable looping. To make a time selection, click and drag along the boundary between the piano roll display area and the CC lane. The mouse cursor becomes a hori<ontal double.headed arrow Asee rightE. ?otice that the time selection is mirrored in '()P(':s )rrange view. This facilitates the use of smart editing Asee Chapter RE. For e,ample, within the docked *D* (ditor window you could identify and work on the part of a *D* item that you wish to copy or move to another track and then, still in the *D* editor, mark that as a time selection. *n )rrange view, you could then 9%r/ 9/ic( 7rag that area to another track Aor elsewhere on the same trackE and create your copy. *f using this feature, you should first decide whether or not you wish to enable Au%o-se/ec% 99 '$en )oving&copying 'i%$in %i)e se/ec%ion from the *p%ions menu.

#!.#! =aviga%ing %$e 3171 Edi%or 3ain +indo'

The *D* (ditorIs menus and action list contain any number of techniHues that you can use for precision navigation2 weIll get to these shortly. First, you should familiarise yourself with the tools that you have available for 7broad brush8 navigation. The hori<ontal and vertical scroll bars in the *D* (ditor window are used for scrolling, and their respective plus and minus buttons can be used for vertical and hori<ontal <ooming. Kou can also use your mousewheel. This can be customi<ed in the )ctions Oist (ditor Asee Chapter %1E, but by default the settings are2 3ouse'$ee/2 Mori<ontal Toom 9%r/ 3ouse'$ee/: Sertical Toom A/% 3ouse'$ee/: Mori<ontal Dcroll 9%r/ A/% 3ouse'$ee/: Sertical Dcroll For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) !%P

Up and Running: A REAPER User Guide v 4.59

The keyboard shortcuts PageUp and Page7o'n can be used to <oom in3out vertically, and J and O to <oom in and out hori<ontally. These too can be changed in the )ctions Oist (ditor if you wish.

#!.#A 5asic =o%e 6e/ec%ion and 3anipu/a%ion

The *D* (ditorIs menus and action list contain any number of techniHues that you can use for precision editing and manipulation of your notes2 weIll get to these shortly. First, you should familiarise yourself with the most basic tools that you have available for Huick and basic editing.

-o do %$is >
Add a no%e 7e/e%e a no%e 6e/ec% a no%e for edi%ing 6e/ec% a range of no%es Add %o an e4is%ing se/ec%ion 9$ange a no%eNs /eng%$ 3ove a no%e

0ou need %o do %$is >

Click and drag in the *D* editing area. Double.click on the note. Click once on the note. 'ight click and drag around the selection. Mold A/% and 9%r/ while right clicking and dragging around notes. Mover mouse over the start or end of the note . the mouse cursor is now a double headed black arrow. Click and drag left or right , as reHuired. Click and drag note to new position then release.

#!.#4 -$e 3171 Edi%or 3enus

This section is an overview of the *D* (ditor:s main menu commands. =hen docked, the main menu is not displayed, but you can access these commands by right.clicking over the windowIs tab in the docker.

-$e Fi/e 3enu

Rena)e 3171 %a(e ... 'enames the *D* *tem. E4por% %o ne' 3171 fi/e ... (,ports active *D* track to a file. *D* events are normally stored in the Pro@ect file itself. 9us%o)iDe no%e na)es Displays a sub.menu. .oad no%e na)es fro) fi/e > and 6ave no%e na)es %o fi/e > 0ou can load names into your *D* item from an e,isting file, or save the note names from your *D* item into a file. Rena)e curren% no%e. )llows you to rename the currently selected note. )lternately, double right.click on note in piano roll. Kou are then able to enter the name for the selected note on the piano roll Asee e,ample, rightE. -se -ab to move to ne,t note, 6$if% -ab to previous. =hen finished you can save to a file. 9/ear a// no%e na)es. Clears all note names from the currently open *D* item. 9us%o)iDe no%e co/ors Displays a sub.menu. .oad co/or )ap fro) fi/e ...&9/ear co/or )ap Euse defau/%sF . -sed to import your own .P?/ color map file or restore the '()P(' defaults. For more information about how to create a color map file, go to foru).coc(os.co)&s$o'%$read.p$pX%[BCCA9 9/ose Edi%or Closes the '()P(' -$e Edi% 3enu Undo? Redo? 9opy? 9u%? 6e/ec% a// even%s? 7e/e%e even% These features work as e,pected on all selected *D* notes. ?ote that you can cut, copy and paste between *D* (ditor windows, and into some e,ternal applications. Pas%e? Pas%e preserving posi%ion in )easure Paste will paste to the current cursor position. =here a selection of notes Arather than a single noteE has been cut or copied, the entire selection will be pasted starting at the current cursor position. -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 !%R *D* editor, and returns you to the main '()P(' window.

#! - 3anipu/a%ing and Edi%ing 3171 1%e)s

Paste preserving position in measure pastes to the ne,t measure after the cursor position, retaining the relative position of the item pasted. 1nser% no%e Dimilar to *nsert ?ote at ouse Cursor Ausing the * keyE, but positions new notes at the (dit Cursor. 1nser% no%e a% )ouse cursor ) very Huick way to insert notes. *nserts new notes Aaccording to the current Dnap valuesE wherever your mouse is hovering. ?ote that since this command takes the mouse cursor as its reference position, you should use the 1nser% key to e,ecute it rather than actually display the menu. 6p/i% no%es Dplits selected notes Ausing the D keyE. *f no notes are currently selected, all notes currently under the (dit Cursor are split. 6p/i% no%e under )ouse cursor Dplits any note currently located under the mouse cursor Abased on snap settingsE. Disabling Dnap allows you to make very accurate splits. ?ote that since this command takes the current mouse cursor as its reference position, you should use the keyboard shortcut 6$if% 6 to e,ecute it. oin no%es $oins selected notes together. 3u%e even%s utes current note selection. Puan%iDe ... Bpens Fuanti<e (vents dialog bo,. Dee the Fuanti<e section and the *D* Toolbo, section for more information about this feature. Puan%iDe sub)enu Puan%iDe using /as% se%%ings? Puan%iDe posi%ion %o grid UnIuan%iDe? FreeDe Iuan%iDa%ion Dee the Fuanti<e section and the *D* Toolbo, section for more information about these command. ,u)aniDe > Bpens the dialog bo, shown here. Mumani<ing can make the e,act timing of *D* generated music sound less 7clinical8 and more realistic. *t does so by allowing you to introduce random small and subtle imprecisions in timing and velocity. )s well as being found on the Edi% menu, this command is also available as an assignable action. -ranspose ... Bpens the dialog bo, shown here, which can be used to transpose all or a selection of *D* notes. Kou can transpose by a specified number of semitones, with a snap to scale option, or from one specified key3scale to another. Re)ove se/ec%ed dup/ica%e no%es 'emoves duplicate notes Ai.e. duplicate notes of the same pitch and same starting positionE from selection. 6e% no%e ends %o s%ar% of ne4% no%e )d@usts the end point of all notes in selected range Reverse 'everses the order of the *D* events within the item currently being edited.

-$e =aviga%e 3enu

This menu presents a number of options for moving notes in any direction, either by grid or by note2 3ove cursor /ef% by grid 3ove cursor up one no%e 3ove cursor rig$% by grid 3ove cursor do'n one no%e

For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) !%#

Up and Running: A REAPER User Guide v 4.59

There are also a number of commands that can be used to @ump to and select a note, either instead of or in addition to any current selection2 6e/ec% no%e neares% cursor Add no%e neares% cursor %o se/ec%ion 6e/ec% previous no%e 6e/ec% ne4% no%e 6e/ec% previous no%e 'i%$ sa)e no%e va/ue 6e/ec% ne4% no%e 'i%$ sa)e no%e va/ue 6e/ec% a// no%es 'i%$ sa)e no%e va/ue Add previous no%e %o se/ec%ion Add ne4% no%e %o se/ec%ion 3ove edi% cursor %o s%ar% of se/ec%ion

-$e *p%ions 3enu

7oc( 'indo' Positions *D* (ditor inside the Docker. =hen you do this, the *D* (ditorIs main menu will not be displayed. This menu can now be accessed by right.clicking over the windowIs tab in the docker Abelow rightE. 6ync edi%or %ranspor% %o pro:ec% %ranspor% Dynchroni<es *D* (ditor transport to '()P(':s main Timeline. -i)e for)a% for ru/er? %ranspor%? even% proper%ies /ives you the choice of easures.>eats.%""ths or easures.>eats. *D*Nticks. 6nap 6e%%ings Displays a sub.menu of snap toggle options2 6nap no%es&99 %o grid, A/'ays snap no%es %o %$e /ef%, 6nap no%e ends %o grid and 6nap no%es re/a%ive %o grid. =o%e previe' Displays a sub.menu enabling you to select any or all of four situations when you would like notes to be previewed A.i.e. audibly heardE G Previe' no%es '$en inser%ing or edi%ing, *n ve/oci%y c$ange, *n (eyboard ac%ion, and3or A// se/ec%ed no%es %$a% over/ap 'i%$ se/ec%ed no%e. 99 even%s in )u/%ip/e )edia i%e)s Two options are available, either of which can be enabled if you wish. These are 7ra' and edi% on a// %rac(s or Edi% on a// %rac(s. 7ra'ing or se/ec%ing a no%e se%s %$e ne' no%e /eng%$ Bver.rides the default note length set by the drop down ?otes bo, on transport bar. A//o' 3171 no%e edi% %o e4%end %$e )edia i%e) *f enabled, this toggle will ensure that the media item length will be e,tended when a note is moved or copied within a time selection. Au%o-se/ec% 99 '$en )oving&copying 'i%$in %i)e se/ec%ion *f enabled, will include CC events when a time selection is copied or moved. 7isp/ay #4-bi% 365&.65 99 da%a as a sing/e en%ry ... *f enabled, ensures that %&.bit D>3OD> CC data will be shown as a single entry Arather than separate entriesE in event list view and properties, Au%o)a%ica//y correc% over/apping no%es Toggles on and off the automatic correction of overlapping notes. Use F#-F#! as s%ep seIuencer =hen enabled, the function keys AF% . F%!E can be used to enter notes. These keys are mapped to the %! Demitones of an Bctave, with F% having the lowest pitch and F%! having the highest pitch. The starting pitch for F% is set by the location of the highlight bar. *n the e,ample shown ArightE, the starting pitch for F% is CR. *n this case, pressing Afor e,ampleE FP will create an ( note. >y moving the highlight bar and -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 !%6

#! - 3anipu/a%ing and Edi%ing 3171 1%e)s

edit cursor, and using Function keys to enter notes, complete arrangements can be Huickly created. ?ormally this mode will also advance the cursor according to the snap settings. Kou can bypass this by holding 6$if% while pressing the function key. Use a// 3171 inpu%s for s%ep recording Toggles the use of *D* inputs when step recording. 3171 edi%or )ouse )odifiers Bpens the mouse modifiers page of your preferences window. Mere you can select actions to be assigned to mouse behavior in various conte,ts. This is discussed later in this chapter and in Chapter %1. 9us%o)iDe )enus&%oo/bars ... Bpens the Customi<e enus3Toolbars window. Dee Chapter %1. -$e Vie' 3enu Fi/%er even%s...? Puan%iDe...? ,u)aniDe...? -ranspose > Bpens one of these dialog bo,es, which have been discussed earlier in this chapter. Even% proper%ies ... Bpens the ?ote properties dialog bo,. This topic is covered later in this chapter, along with -$e Rig$%c/ic( =o%es 3enu. Ra' 3171 da%a Bpens a window displaying raw *D* data for currently selected item. 3ode: piano ro// Displays a standard, white3black piano key view. 3ode: na)ed no%es 'eplaces the Piano 'oll view with note names. ?ote2 Bnly works when using a SDTi that reports note names, such as F,pansion:s >FD. Check the '()P(' forum to see if a note namer plug.in has been posted for the SDTi you want to use. For e,ample there are (TDrummer note namers available. 3ode: even% /is% Displays the event list. These three modes are discussed in more detail later. Piano ro// no%es Displays a sub menu of Rec%ang/es? -riang/es and 7ia)onds to determine how notes are displayed. Kou also have three toggle options to 6$o' ve/oci%y $and/es on no%es, 6$o' ve/oci%y nu)bers on no%es and3or 6$o' no%e na)es on no%es. *n the e,ample shown here, velocity handles and note names are displayed. 9o/or no%es by This command selects the criteria used for coloring notes. The options are Ve/oci%y, 9$anne/, Pi%c$, 6ource Eusing co/or )apF, -rac( and 3edia i%e). Kou can toggle on3off 6$o' co/or se/ec%or in edi%or. Kou also have options to .oad co/or )ap fro) fi/e and 9/ear co/or )ap Euse defau/%sF. 6$o'&$ide no%e ro's Displays a sub.menu with three mutually e,clusive commands to determine which rows are shown. 6$o' a// no%e ro's, ,ide unused no%e ro's. or ,ide unused and unna)ed no%e ro's. The hide options are not compatible with piano roll view. Piano ro// %i)ebase Dets the timebase for the piano roll. Bptions are 6ource bea%s Afrom media source itemE, Pro:ec% bea%s, Pro:ec% %i)e, or Pro:ec% synced. For more information, choose -i)ebase $e/p from this menu. Dee also the e,ample at the end of this chapter. -$e 9on%en%s 3enu -rac( .is%&3edia 1%e) .ane Toggles the display of these panels. 3edia i%e) se/ec%ion )irrors arrange vie' ) toggle which when enabled ensures that selecting a *D* item in the *D* (ditor causes that item also to be selected in )rrange view, and vice versa. 9/ear edi%or '$en c$anging ac%ive 3171 )edia i%e) via %$is )enu Es$if% %ogg/esF This causes the *D* (ditor display to be cleared when the active item is changed via the contents menu. For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) !%Q

Up and Running: A REAPER User Guide v 4.59

*ne i%e) per ... Bpens sub menu where you can specify one *D* editor window for each item, each track, or the pro@ect. *p%ions '$en using one 3171 edi%or per pro:ec% Bpens sub menu where you can specify various options which determine how '()P(' behaves when you are using one *D* editor per pro@ect. Dee section 7 anaging ultiple *D* Tracks and *tems.8 Ac%ive 3171 i%e) fo//o's se/ec%ion c$anges in Arrange vie' )llows you to make any *D* item active in *D* editor by selecting it in )rrange view. .is% of pro:ec% %rac(s&3171 i%e)s This menu lists all tracks which contain *D* items and all items themselves. ) tick indicates that the item is currently open and the active item. Delect an item from this menu to open it in the *D* (ditor window, closing all other items2 hold Dhift while doing so if you do not wish to close all other items.

-$e Ac%ions 3enu

This has two default commands . 6$o' ac%ion /is% and 6$o' recen% ac%ions. 6$o' ac%ion /is% opens the Ac%ions > window with the 3171 Edi%or section automatically selected. Custom actions and keyboard shortcuts play an important role in working within the *D* (ditor. =hen 6$o' recen% ac%ions is enabled, the )ctions menu will list your most recent activities, as well as any custom actions or keyboard assignments that you have placed there. These commands can then be e,ecuted from this menu Asee e,ample, rightE. There are some simple e,amples showing you how you can use the )ctions Oist later in this chapter. The Ac%ions .is% Edi%or and how to use it will be covered in detail in Chapter %1. Finally Aon the sub@ect of menusE remember that '()P(' makes e,tensive use of right.click conte,t menus. Cnowing which commands are on the main menu is useful, but as you will shortly see, more often than not youIll use the right click menus and custom actions more than the main menu.

#!.#5 =o%e 9rea%ing and Edi%ing

*vervie'
) *D* *tem can contain data from up to %R channels. The *D* (ditor can display and edit all %R *D* channels, or you can use the Filter (vents window or Channels drop down list to limit the channel display. *f you select Channel from the Color drop down list, each channel will be assigned an individual color, visible in both the Piano 'oll and the CC lane. The *D* (ditor uses as its default a Piano 'oll interface to display and edit *D* information. ?otes are displayed vertically according to their corresponding value on a Piano Ceyboard, and hori<ontally according to the duration of each note and their location within the *D* *tem or the Timeline. Previe' Heyboard The Preview Ceyboard 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 Ceyboard will send a *D* note of the corresponding value to the *D* *nstrument that is connected to the Track. The Preview Ceyboard 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 =o%es *D* notes can be recorded as part of a performance, imported from an e,isting manually entered using the *D* (ditor. *D* file, or they can be

Using %$e 3ouse: ?otes can be entered by dragging your mouse from left to right across the Piano 'oll. The duration of the note will increase as you drag the ?ote. *f Dnap is enabled, the duration will Dnap to the nearest /rid Oine Adepending on the strength of your Dnap settingsE. ?otes can also be entered by double.clicking on the Piano 'oll Ain a space not already occupied by another noteE. *n this case, the duration of the note is determined by the value of the /rid Detting. ?otes can be deleted by double.clicking on the ?ote. The duration of an e,isting note can be altered by dragging the edge of the note. =hile holding it, you can drag the note out, move it up and down, etc. =hen you let go, the notes will be positioned according to your snap setting. ) noteIs velocity can be ad@usted by clicking and dragging up or down from the top of the note, in -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 !!"

#! - 3anipu/a%ing and Edi%ing 3171 1%e)s

similar fashion to that used for ad@usting the item volume button or handle in '()P('Is main window. ?otes can be moved by dragging in any direction. Dragging left or right will change the location of the note in the Timeline, while dragging up or down will change the note value.

-$e Rig$%-9/ic( =o%es 3enu

1nser% no%e a% )ouse cursor ) very Huick way to insert notes. *t will insert notes according to the current snap values wherever your mouse floats over. 'emember to use *?D('T key otherwise you will have to move your mouse cursor+ 1nser% no%e a% edi% cursor Dimilar to previous, but wherever the edit cursor is. 9opy&9u%&Pas%e These are standard =indows editing commands which perform standard =indows functions. Pas%e preserving posi%ion in )easure Paste preserving position in measure pastes to the ne,t measure after the cursor position, retaining the relative position of the item pasted. 6e/ec% a// no%es Delects all notes in this *D* (ditor window 7e/e%e no%es Deletes all notes in current selection. 6p/i% no%es ?otes can be split at the (dit Cursor by selecting 6p/i% no%es A6E from the right.click menu. )ll notes that are under the (dit Cursor will be split. 6p/i% no%es under )ouse cursor ?otes can be split at the location of the ouse Cursor by selecting 6p/i% no%es under )ouse cursor A6$if% 6E from the right.click menu. oin no%es $oins all notes in current selection to make one note per row. 3u%e no%es utes according to conte,t the current note selection or the note under the mouse cursor. 6e/ec% previous no%e 6e/ec% ne4% no%e Delects previous or ne,t note in place of current selection. 6e/ec% previous no%e 'i%$ sa)e va/ue 6e/ec% ne4% no%e 'i%$ sa)e va/ue 6e/ec% a// no%es 'i%$ sa)e va/ue *n place of currently selected note, selects previous, ne,t or all notes with the same value as the currently selected note. =o%e proper%ies Mere you can alter the various values attributed to a midi note by entering values into te,t bo,es. Kou can change any of these2 no%e pi%c$? ve/oci%y? posi%ion? /eng%$? c$anne/ Kou can use W or O to make relative changes. For e,ample, for note value, entering W%o! will raise the pitch by one octave and two semitones. =o%e c$anne/ E#-#@F ) Huick way to change the channel for the current note selection. For e,ample, choosing channel 6 will ensure that a note will use channel 6 .. and will send that note to the vsti or midi instruments channel 6. =o%e ve/oci%y E#-#!BF -sed to change the velocity for a note or note selection to a specified value, within the range % to %!#.

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Up and Running: A REAPER User Guide v 4.59

#!.#@ Using %$e Heyboard
Oooking at the right click ?otes menu you can see that default keyboard shortcuts have been assigned to many of these commands. There are others that are not shown on the menus. Dome of the most useful of these are listed here. ?otes can be entered at the position of the edit cursor by using the Ceyboard Dhortcut 1 or at the mouse cursor by pressing 1nser%. The duration of the note will be determined by the value of the grid setting Afrom the /rid Division bo,E. The effect of this is shown in the two illustrations ArightE, before and after. The Edi% 9ursor position on the Timeline is ad@usted by using any of the following Ceyboard Dhortcuts. -o do %$is > ove edit cursor right by one grid division. ove edit cursor left by one grid division. ove edit cursor right by one pi,el. ove edit cursor left by one pi,el. > use %$is s$or%cu% Rig$% or 9%r/ =u) @ .ef% or 9%r/ =u) 4 6$if% Rig$% or 9%r/ A/% =u) @ 6$if% .ef% or 9%r/ A/% =u) 4

=o%es can be )oved using any of the following Ceyboard Dhortcuts. -o do %$is > ove selected noteAsE down one octave. ove selected noteAsE down one semitone. ove selected noteAsE up one octave. ove selected noteAsE up one semitone. ove edit cursor left by one pi,el. ove edit cursor left by one grid unit. ove edit cursor right by one pi,el. ove edit cursor right by one grid unit. > use %$is s$or%cu% A/% =u) ! =u) ! A/% =u) C =u) C A/% =u) 4 =u) 4 A/% =u) @ =u) @

=o%e disp/ay can be fi/%ered for channels % to %" using any of the shortcuts 6$if% # thru 6$if% ". 6$if% R removes the note filter and restores all notes to view. Use F#-F#! as s%ep seIuencer: =hen Use F#-F#! as s%ep seIuencer is selected, the Function keys F% thru F%! can be used to enter notes. The Function keys are mapped to the %! Demitones of an Bctave, with F% having the lowest pitch and F%! having the highest pitch. The method for using this is the same as already described under the *D* (ditorIs main *p%ions menu. =o%e Proper%ies: The keyboard shortcut 9%r/ F! can be used to open the ?ote Properties bo,, as an alternative to choosing the command from the right.click menu. 6e/ec%ing & Edi%ing )u/%ip/e =o%es: ultiple notes can be selected by holding down the Ctrl or Dhift keys while selecting notes with the mouse, by drawing a arHuee A'ight.click and dragE around a group of notes, or by using Delect )ll A 9%r/ AE. The value of all selected notes can be ad@usted by dragging one of the selected notes. The duration of all selected notes can be ad@usted by dragging the edge of one on the selected notes. The note velocity of all selected notes can be ad@usted by dragging the Selocity handle Awhen activeE of one of the selected notes. The default Selocity value for notes created in the *D* (ditor is taken from the last selected event . e.g. if the Selocity of the last selected event was #", then the Selocity value for the ne,t created note will be #". -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 !!!

#! - 3anipu/a%ing and Edi%ing 3171 1%e)s

#!.#B Genera/ 3171 Progra) Pa%c$es

=e have already seen that you can use a >ank3Program Delect lane to make program changes within an item. *tIs worth noting that '()P(' includes a file / .reabank Ain the U)pplication DataU'()P('UData folderE which can be used to select standard /eneral *D* banks and patches. )n e,ample is shown here. *f the /eneral *D* banks are not automatically available in the >ank drop down list, click on the .oad Fi/e button, navigate to the '()P(' data directory and select the file G3.reaban(.

#!.#C 3171 Previe' 6crub

=ithin Piano 'oll Siew and ?amed ?ote Siew you can preview your *D* material by clicking and dragging the edit cursor along the timeline. This is similar to audio scrub2 e,act scrub behavior will be determined by the settings under *p%ions? Preferences? Audio? P/aybac(.

#!.#9 3171 Edi%or 3odes and Vie's

#!.#9.#
The %. !. 1.

=o%e 3odes

*D* (ditor has three modes, accessible from the Vie's menu.2 Piano Ro// Vie' G keyboard shortcut A/% #. =a)ed =o%es G keyboard shortcut A/% !. Even% .is% G keyboard shortcut A/% A.

-p until now, the only view used in this -ser /uide has been Piano 'oll. >efore moving on to e,amining the other two views, there are a couple of points that you might find interesting. =a)ed =o%es 3ode: *n this mode you can double right click in the left pane to enter te,t, as shown. *f you select the option on the Siew menu to 6$o' no%e na)es on even%s, then the names will be shown on the actual notes themselves, as shown here. *f you leave this option enabled, the names will also be displayed in Piano Ro// Vie'. *n named note mode, you also have the options

ASiew menuE to 6$o' a// no%e ro's, ,ide unused no%e ro's and ,ide unused and unna)ed no%e ro's. The first of these options is the default. Miding unused note rows can make it easier for you to navigate thru the *D* (ditor to work with e,isting notes. Mowever, problems may occur if you then want to add or move notes to rows that are currently empty. The option to ,ide unused and unna)ed no%e ro's can help you to get round this. >y taking the time before you choose this command to name any empty rows that you are likely to need, you will ensure that these rows will still be available to you.

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Up and Running: A REAPER User Guide v 4.59

Even% .is% 3ode:

(vent Oist mode displays the *D* information as a list of events, in tabular form. *n this mode you can use the right click menu Ashown leftE to iAfor e,ampleE nsert, copy, cut paste, delete or mute any events. The full menu is shown here.

Kou can also double click on any event to modify that eventIs properties Asee e,ample rightE. Bf course, the information displayed in the (vent Properties dialog bo, will in large measure depend on the event type of event. The Toolbar displayed in (vent Oist view is simpler than that used in the other two views. The Fi/%er button Atop leftE is used e,actly as in the other two views to filter only those events that you want displayed. The Add Even% button will insert a new event immediately before the currently selected event, and the 7e/e%e button will delete the currently selected event. The fourth button toggles the docking of the *D* (ditor on and off. =o%e2 From the *p%ions menu, the toggle command to 7isp/ay #4-bi% 365&.65 99 da%a as a sing/e en%ry in even% /is% vie' and even% proper%ies dia/og is by default enabled. This causes %&.bit D>3OD> CC data to be shown as a single entry rather than separately.

-nlock your inner '()P(' with REAPER 4 Un/eas$ed2 !!&

#! - 3anipu/a%ing and Edi%ing 3171 1%e)s

#!.#9.! =o%e 6%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 Siew and ?amed ?ote Siew e,amples up to now. Mowever, two further options are available, specifically for use with drum sounds. These are triangle and diamond modes. To choose a note style, use the Vie'? Piano Ro// =o%es command and select Rec%ang/e, -riang/e or 7ia)ond. )n e,ample which uses triangles instead of the default rectangles is shown on the left.

#!.!" Puan%iDing 3171 7a%a

The term Puan%iDe refers to a process of aligning a set of musical notes to a precise setting. This results in notes being set on notes and on e,act fractions of notes. =hen you Huanti<e a group of *D* notes, the program moves each note to the closest point on the timing grid. The point of Huanti<ing is to provide a more uniform timing of sounds. *t is often applied to *D* notes created by a musical keyboard or drum machine. Fuanti<e is available by choosing the Edi%? Puan%iDe even%s command from the *D* (ditor menu. This causes the dialog bo, shown on the right to be displayed. The first choice you have is between the Use Grid and 3anua/ 6e%%ings option. =e:ll come to -se /rid shortly. Dhown right is the dialog bo, interface that appears when the anual option is selected. The various Huanti<e parameters are e,plained below. ?otice the 5ypass option Atop rightE. Disabled it lets you see the result of different Huanti<e parameter settings as you tweak them. (nable this until you are finished if you don:t want this to happen. Toggle it if you want to compare how your music sounds with and without Huanti<ing applied. A// =o%es, 6e/ec%ed =o%es, A// Even%s or 6e/ec%ed Even%s. The first Fuanti<e drop down list allows you to Huanti<e selected notes or events Anot @ust notesE or the whole seHuence Aall notes or all eventsE. This can come in handy if you @ust need to Huanti<e a certain off section, or perhaps @ust a certain instrument, such as the hi.hats of a drum section. The second Fuanti<e drop down list works in con@unction with whatever selection

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Up and Running: A REAPER User Guide v 4.59

you make from the first. Kou can choose to have the Huanti<ing of notes and3or events applied to the Posi%ion only, Posi%ion and =o%e End, Posi%ion and =o%e .eng%$, =o%e End *n/y or =o%e .eng%$ *n/y. The 6%reng%$ setting ad@usts how strictly notes are Huanti<ed. The lower you set the strength, the less :magnetism: the grid has to the midi notes. This introduces subtle imprecisions to the Huanti<ing which can make the outcome seem less clinical. The Grid and .eng%$ values determine which units Ameasured as fractions of a noteE are used for Huanti<ing. These can be selected from the drop down lists or entered manually in their respective bo,es. They act in con@unction with the A//o' no%es %o options Asee belowE. /rid type can be straight, triplet, dotted or swing. *f swing is selected, you will also need to specify swing strength. 3ove /ef% and 3ove rig$%. *f Fuanti<e Position is enabled, these will ensure that notes are individually Huanti<ed to the start or end of the specified note fraction, whichever is nearest. ove left only will only Huanti<e notes to the start, move right only will only Huanti<e notes to the end. 6$rin( and Gro'. These are applied if Fuanti<e Oength is enabled. '()P(' will e,tend or shorten notes by moving the end position of each note. Kou can enable either or both of these options. The *n/y Iuan%iDe range faders allow you to specify a percentage range for Huanti<ing. P"L represents the mid.point between the grid lines. Salues more than P"L are only really meaningful if 7allow move right8 or 7allow move left8 is disabled. The distance is measured from the grid line being Huanti<ed to2 normally it will select the closest line so that you will never be more than P"L away. Fi4 *ver/aps can be enabled to stop notes from overlapping as a result of being Huanti<ed. =hen the Use Grid Detting is selected, the Fuanti<e (vents dialog bo, will be as shown on the right. From the Grid drop.down list Aat the bottom of the *D* (ditor window, ne,t to the transport barE, select a note length value Asuch as %31!, %3%R or %36E and then select an item from the grid spacing %ype list. This can be straight, triplet, dotted or swing. *f you choose 6'ing a strength fader is displayed Asee belowE. This can be used to ad@ust the swing setting within a range of .%""L to %""L, or you can enter a value directly into the 6'ing \ edit bo, to its immediate right. Kou should also set a =o%es value2 left at /rid, this will take its value from whatever is chosen for the grid. Btherwise you may select any other reHuired value from the drop down list. -sed well, swing can result in a more musically pleasing output. *n essence, you define a percentage delay to be applied on the upbeat. For e,ample, if you apply swing to %3& notes then those which coincide with the %3! note divisions will be unaffected by the swing, those that fall between these divisions will be delayed by the amount specified. Dmall amounts of swing Aeven PL or lessE can help to prevent a part from sounding too rigid. Fuanti<e is non.destructive G that is to say, the process can be reversed at any time. The various other commands on the Edi% menu that are used with Huanti<ing are2 Puan%iDe no%es using /as% se%%ings This bypasses the Puan%iDe Even%s dialog bo,, making it easier for you to apply the same Huanti<ation settings to various disparate selections. Puan%iDe no%es posi%ion %o grid This Huanti<es notes according to your grid settings. UnIuan%iDe even%s 'emoves Huanti<ation and returns the notes to their previous state. FreeDe Iuan%iDa%ion for even%s Free<es the Huanti<ation for all currently selected events. Dhown above is an e,ample. The top picture shows two unHuanti<ed notes selected. *n the second picture they are Huanti<ed by moving them left. *n the third picture, they are Huanti<ed by moving them to the right.

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#! - 3anipu/a%ing and Edi%ing 3171 1%e)s

#!.!# 1npu% Puan%iDa%ion
The term 1npu% Puan%iDe refers to a process by which *D* notes are automatically Huanti<ed as they are entered. This could be, for e,ample, by playing your *D* keyboard, or even the '()P(' Sirtual Ceyboard. *nput Huanti<e is applied on a per track basis. Dimply right click over the trackIs S- eter and choose -rac( Recording 6e%%ings from the conte,t menu. This causes the dialog bo, shown on the right to be displayed. Kou should then select the option to Puan%iDe %rac( 3171 recording. Bptions then available include2 The note length to be used for Huanti<ation Ae.g. %36E. Kour Huanti<e positioning preference. Bptions are =eares% va/ue, Previous va/ue and =e4% va/ue. =hether to Huanti<e note.offs. Fuanti<ation strength. ) lower setting will allow more subtle variation, creating a more 7human8 effect by allowing minor variations in how strictly the Huanti<ation is applied. Dwing setting. This can be between "L and %""L. Kou can use this setting to add a touch of delay to those notes that do not fall on the upbeat. The best way to understand how these settings affect how your notes sound is to try a few e,amples. Fuanti<e within L range. These are similar to the ?early Fuanti<ed and Far From Fuanti<ed faders in the Fuanti<e (vents dialog bo, Asee previous sectionE.

#!.!! ,u)aniDe =o%es

Mumani<e ?otes Afrom the (dit menuE can be used to introduce subtle variations G some might say imperfections+ G to a *D* item that is @ust too e,act, too perfect. For e,ample, no human pianist will ever complete an entire live performance on an acoustic piano with every key being struck with e,act precision and perfect timing. Therefore, you might not want your *D* items to be too perfect. The ,u)aniDe =o%es dialog bo, ArightE can be used to introduced random variations in timing and velocity to an e,isting *D* item to make it sound J well, more human+

#!.!A FA - -$e Panic 5u%%on

The FA key can be your best friend when you are working in the *D* (ditor Aand also when you are playing back *D* items in '()P(':s main )rrange SiewE. Pressing F1 will set all notes to all *D* outputs off, until you stop and recommence playback.

For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) !!#

Up and Running: A REAPER User Guide v 4.59

#!.!4 Using %$e 3171 Edi%or: a 5asic E4ercise
*n this e,ample, you will be introduced to some simple e,amples which involve working with the '()P(' *D* (ditor. The ob@ective of this is not to produce a stunningly brilliant piece of music, but to help you to become familiar with the *D* (ditor. The step by step instructions assume that you are using a PC with =indows. BD3; users will need to adapt some of the steps to suit their own environment. E4a)p/e %. Create a new pro@ect file. )dd one track to it. )rm this track for recording and set its input to your *D* keyboard if you have one, or to the virtual keyboard if you do not. !. 'ecord about !" or 1" seconds of a very simple tune on Channel %. This might be part of a nursery rhyme or some other song with which you are familiar. Kour Track and *tem will look something like this2

1. *f you are using =indows, display the trackIs 1* A'outingE window and add a *D* Mardware Butput to 3icrosof% G6 +ave%ab/e 6+ 6yn%$. &. Play the tune. *t should play with a piano sound. P. Double click on the item to open it with the *D* (ditor. R. Check the first two *D* toolbar buttons to make sure that neither the Track Oist nor edia *tem Oane are displayed G you do not need them for this e,ercise, #. Display the drop down note.length list Alabeled ?otes2E and set it to %3!. 6. Dcroll your mousewheel up or down until you are satisfied with the hori<ontal <oom setting. -se 9%r/ with the mousewheel to find an acceptable vertical <oom setting. Kou should see something like this.

6.

$ust for fun, draw in a few more notes by clicking and dragging in the edit window. (,periment with using your mouse to move them about and change their length Aby clicking and holding over a noteIs right edge and dragging left or rightE. Delete any that you do not want to keep. -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 !!6

#! - 3anipu/a%ing and Edi%ing 3171 1%e)s

Q. ?ow Toom out hori<ontally to see the entire length of the item. %". Display the 99 .ane .is% and choose 5an(&Progra) 6e/ec% Asee rightE. %%. )t the very start of the song, double click in the CC Oane. Delect the bank Genera/ 3171 and the program 9$urc$ *rgan. Click on *H. %!. 'eturn to the start of the timeline and play the tune. *t should sound like a church organ. %1. Draw in a number of long 7dronish8 notes as shown below. arHuee them Aright click dragE to select them all Abut only your new notesE.

%&. 'ight click over any of the selected items, choose =o%e 9$anne/ from the menu, then channel !. %P. Double click in the CC Oane,at the start of the song. Delect Genera/ 3171, 9$oir Aaa$s and 9$anne/ ! Asee rightE. Click on *H. %R. Play the song from the start. Kou should hear an organ with a choir. The choir may seem too loud. %#. Change the CC lane to display "B Vo/u)e 365. %6. Click on the Channel Filter Oist Aon the toolbarE and choose Channel !. ?ow only your )aahs are displayed. %Q. Click, hold and drag your mouse as you sweep along the CC Oane with a fairly low volume setting, as shown below.

!". !%. !!. !1. !&.

'emove the channel filter and restore all channels to view. Display the Color drop down list and choose Channel. Close the *D* (ditor and save the file. Play it. The choir should now sound a lot Huieter. Continue if you wish to further e,plore the *D* (ditor on your own.

#!.!5 +or(ing 'i%$ 3u/%ip/e 3171 -rac(s and&or 1%e)s E*vervie'F

From )rrange view you can make *D* items available for editing by choosing the command *pen in bui/%-in 3171 edi%or from the right click conte,t menu. >y default, double.clicking on the item has the same effect. '()P(':s e,act behavior here will be determined by your Edi%ing 5e$avior? 3171 Edi%or preferences G see also Chapter %Q. *n brief, this is where you select one of three options G to use a separate *D* editor for each media item, or one instance per track, or one instance for the whole pro@ect. For e,ample, if you set your For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) !!Q

Up and Running: A REAPER User Guide v 4.59

preference to one *D* editor per media item, then each *D* item you double.click on will open in a separate *D* editor instance by itself. *f you set it to one *D* editor per pro@ect, this will result in all *D* items being opened in the *D* editor when any single *D* item is double.clicked2 The double.clicked item will be the selected and active item. *f *ne 3171 edi%or per pro:ec% is specified, then you should also specify whether to open the clicked *D* item only, all selected *D* items, all *D* items on the same track, or all *D* items in the pro@ect Asee rightE. =ithin the *D* (ditor itself, your default preference settings can be changed and overridden from the 9on%en%s menu. This will be discussed shortly Tracks and items can be managed in the *D* (ditor by displaying the 3edia 1%e) .ane Asecond button on toolbar togglesE and the -rac( .is% Afirst button on toolbar togglesE. >oth these options are also available on the 9on%en%s menu.

The above illustration shows an e,ample of the *D* (ditor window opened with three *D* tracks, the first of which comprises three items. >oth the Track Oist Aright of windowE and the edia *tem Pane Afoot of windowE are displayed. *n a moment, we:ll e,amine these more closely. *n the *D* (ditor each item is assigned three Hualities G visibility status, active status and editability status. These can be set as reHuired to allow you to work with different items at different times. Visib/e means the item and its notes are displayed in the *D* editor window. Ac%ive means that the item can be used for inserting, copying, pasting notes, etc. Edi%ab/e means that mouse edits Amove, lengthen, etc.E and commands such as Huanti<e, transpose and humani<e can be performed on an item:s notes. Bne and only one item at a time may be active, but as many items as you wish may at any time be visible and3or editable. ?ote that2 )n item can be visible without having to be editable or active. Bne or more items may be visible. )n editable item will also be visible but need not be active. Bne or more items may be editable. )n active item will also be editable and visible. Bne and only one item is active at any time. -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 !1"

#! - 3anipu/a%ing and Edi%ing 3171 1%e)s

)n item can be made active using the track list Asee below rightE. ) track can be made active from the 9on%en%s menu or using the drop down list near the end of the transport bar Aalso see below rightE. *f the track contains only one *D* item, that item will be made active. *f it contains more than one item, all items will be visible and editable but only one item will be active. The Fi/%er Even%s window allows you to select multiple channels for display and editing. *f you select two or more channels in this window, the drop down channel list at the foot of the *D* editor window will read 7 ulti8 or 7)ll8. )lternately, you can simply use the drop down channel list to select 7)ll.8 The 3171 column in the -rac( 3anager AChapter %%E can also be used to open items in3remove items from the *D* (ditor, and to show items in3hide items from the *D* (ditor track list. Tracks can also be selected to be shown in or hidden from the track list using the track list:s conte,t menu Asee belowE.

#!.!@ 3anaging 3u/%ip/e 3171 -rac(s and 1%e)s

-$e -rac( .is%
Track Oist display is toggled on and off by the first icon on the *D* (ditor toolbar, or from the Contents menu. 'ight.click on the track list area to open the Track Oist conte,t menu. Kou can choose between Au%o)a%ic )ode and 3anua/ se/ec%ion )ode. *n automatic mode, clicking on an item name automatically selects it and makes it the active and sole editable item. *n manual mode, selecting an item name does not automatically make it the active item, nor does it affect the status of other items. *n either mode, you can always click on any item:s 7make active8 icon Agreen down pointing arrowE to make it active, or the green padlock icon to make it editable. Kou can choose Amutually e,clusiveE 6e/ec%ion /in(ed %o visibi/i%y or 6e/ec%ion /in(ed %o edi%abi/i%y. Tracks made visible or editable will automatically be added to the track selection. Two mutually e,clusive options from the *D* (ditor *p%ions menu are repeated here2 these are 7ra' and edi% 99 even%s on a// %rac(s and Edi% 99 even%s on a// %rac(s. Kou can use the command 9$oose '$ic$ %rac(s appear in %rac( /is% to hide tracks from or restore them to the track list. Delecting this command causes the 8 symbol to be displayed beside each track name. This toggles track display. *n its default gray state, the track will be displayed, when red it will be hidden. )fter making your selection, again select 9$oose '$ic$ %rac(s appear in %rac( /is% from the conte,t menu to implement your selection. Kou can also choose whether 3edia i%e) se/ec%ion is to be )irrored so that selecting an item in either the *D* (ditor or )rrange view automatically causes it to be also selected in the other. Finally, you can choose whether to 6$o' %oo/%ips in 3171 %rac( /is%. *n the e,ample on the left three tracks are displayed, containing in total five *D* items. The )coustic /uitar track holds three items. /uitar break % is the active item2 it is therefore also editable and visible. guitar break ! is editable and visible, guitar break 1 is visible but not editable. The acoustic bass item is both editable and visible. The electric guitar is not visible and therefore not editable. The diamond shaped symbol to the left of each track name opens and closes a list of *D* items on that track. Click on any item name to select it, or on any track name to select all items on a track. Kou can use controlWclick to build a selection. *n automatic mode, the first item in a built selection will be made active, but you can change this by clicking on the 7make active8 icon of any other item. Kou can then use the various other icons to set Hualities such as icon color or editability for the entire selection. The small colored sHuare to the right of an item name opens the color picker2 this can be used to select a different color to be used for this item in the edia *tem Oane. The column to the right of the color picker is the 7make active8 column. Click here to make any item the current active item Ashown by the green arrowE. *t will automatically also be made editable and visible. Click in the ne,t column to the right of this to make any item visible and editable, indicated by the green unlocked padlock icon. *f contents do not appear visible, check %E the scroll settings for the *D* editor window, For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) !1%

Up and Running: A REAPER User Guide v 4.59

and !E the channel filter, to ensure that the reHuired channel is included in the filter. This same green icon can then be used to toggle editability. The eye symbol to the right of this toggles the visibility of any item Aor item selectionE in the *D* (ditor. The gray3red circle to the right of this Afor tracksE toggles record arm status for that track. This is used in con@unction with the 'ecord button on the )rrange view Transport >ar. -se the 3 button to the right of this to toggle mute status for individual tracks or items. -se the 6 button to the right of this to toggle solo status for any track. Kou can also use the 9on%en%s menu Afrom the *D* (ditor main menuE to override and change your current *D* (ditor preference settings. For e,ample, you can2 -se the *ne 3171 edi%or per command and select 3edia i%e), -rac(, or Pro:ec%. -se the *p%ions '$en using one )edia i%e) per pro:ec% command and change the setting for 5e$avior for Topen i%e)s in bui/%-in 3171 edi%orU to any of c/ic(ed 3171 i%e) on/y, a// se/ec%ed 3171 i%e)s, a// 3171 i%e)s on sa)e %rac( as c/ic(ed i%e) or a// 3171 i%e)s in pro:ec%. The 9on%en%s menu also makes available a number of toggle options to be applied when a// 3171 i%e)s in pro:ec% is selected. These are *n/y 3171 i%e)s on sa)e %rac( as ac%ive i%e) are edi%ab/e , 9/ear edi%or '$en c$anging ac%ive 3171 i%e) Es$if% %ogg/esF and 9/ose edi%or '$en ac%ive i%e) is de/e%ed in Arrange vie'. For more about *D* preferences and options, see Chapter %Q. There is also a toggle option Ac%ive 3171 i%e) fo//o's se/ec%ion c$anges in Arrange vie' . This enables you to make any *D* item active by selecting it in )rrange view.

-$e 3edia 1%e) .ane

This displays the *D* items and their position in the arrangement. *n automatic mode, clicking on any item highlights, selects it and makes it active. )s with the track list, you can use controlWclick to build a selection. The individual media item right.click conte,t menu offers you various options for setting items to custom colors or random colors.

#!.!B Edi%ing 3u/%ip/e 3171 1%e)s

*n order to be able to edit different *D* items at the same time you will first need to select those items that you wish to make available for editing, as e,plained in the previous section. Kou can then perform normal mouse editing activities on any part of the selection, such as copying or moving, ad@usting velocity, stretching, shrinking, etc. The table below gives some e,amples of how you can apply this to various *D* editing tasks.

3171 Edi%ing 'i%$ 3u/%ip/e 1%e)s: 6o)e -ips and E4a)p/es

These notes assume that you are by now familiar with the basic *D* editor navigation and editing techniHues e,plained earlier in this chapter and, for e,ample, shown in the e,ercise in section %!.!&. *ndeed, you are advised not to e,periment with editing multiple *D* items until you are confident that you have mastered the techniHues for editing the contents of a single *D* item. -ip: >efore attempting any of these editing tasks in the sure that the notes to be edited are actually visible+ *D* editor, check your channel filter settings to make

1f you 'an% %o do %$is >

9$ange %rac(&i%e) na)e. 9opy&)ove a no%e Eor no%e se/ec%ionF %o ano%$er i%e) 'i%$in 3171 edi%or. 9opy&)ove a no%e Eor no%e se/ec%ionF %o ano%$er i%e) in Arrange vie'. 3ouse edi% a se/ec%ion of no%es in )ore %$an one 3171 i%e).

> do %$is2
Double.click on name in track list and edit. ake sure source itemAsE editable. Delect noteAsE, press 9%r/ 9 AcopyE or 9%r/ 8 AcutE. ake the destination item active. *f reHuired, position play cursor. Press 9%r/ V ApasteE. ake source itemAsE editable in *D* (ditor. Delect noteAsE, press 9%r/ 9 AcopyE or 9%r/ 8 AcutE. Delect destination item in )rrange view, make it active in *D* (ditor, position play cursor. Press 9%r/ V ApasteE. ake items editable. Delect notes and use mouse Ae.g. drag to move, click drag from edge of any note to lengthen or shorten notesE.

-nlock your inner '()P(' with REAPER 4 Un/eas$ed2 !1!

#! - 3anipu/a%ing and Edi%ing 3171 1%e)s

1f you 'an% %o do %$is >
7e/e%e se/ec%ion of no%es across )ore %$an one i%e). 3u%e&Un)u%e no%e se/ec%ion across )ore %$an one i%e). 9$ange no%e proper%ies for a se/ec%ion of no%es

> do %$is2
ake items editable. Delect notes and press 7e/e%e key. ake items editable. Delect notes and press A/% 3, or use 3u%e even%s command from Edi% menu. ake items editable. Delect notes and press 9%r/ F!. *H. ake changes then

Puan%iDe? ,u)aniDe? -ranspose ake all reHuired items editable. ake note selection and choose (dit across )u/%ip/e i%e)s. menu command, e.g. Fuanti<e, Mumani<e, Transpose. Ad:us% ve/oci%y of no%es se/ec%ed in %'o or )ore i%e)s. Edi% 99 da%a across )u/%ip/e 3171 i%e)s. 6$o'&,ide a// 3171 i%e)s on %rac(s in -rac( .is%. 6$o'&,ide a// %rac(s&3171 i%e)s in -rac( Fo/der. Display velocity lane and make items editable. Delect reHuired notes. Click3drag mouse up3down from top edge to increase3decrease velocity. Display CC lane and make items editable. Delect reHuired events and perform edit as reHuired with mouse or via (vent Properties dialog. 9/ic( Afor one trackE or 6$if% c/ic( Afor all tracksE on diamond symbol to the left of any track name in Track Oist AtoggleE. 9/ic( on circle symbol to left of folder name in Track Oist AtoggleE.

#!.!C 3171 Edi%or 3ouse 3odifiers

The ouse odifier page of your Preferences window can be opened by the *p%ions? 3171 edi%or )ouse )odifiers command. There are several areas in which you can modify mouse behavior within the *D* (ditor. These include 3171 no%e, 3171 no%e edge, 3171 99 /ane, 3171 99 even%, 3171 ru/er, 3171 piano ro// and 3171 edi%or. *n many cases, separate conte,ts are also available for click, drag and double.click behavior. Kou can define how you want your mouse to behave when it is being used in any of these conte,ts. =ithin most conte,ts you will find several different types of mouse action. For e,ample, when working with *D* notes, a different action will be reHuired when AsayE dragging a note from when double. clicking on it. Thus, within the ouse odifier page of your preferences, you can select not only a conte,t but also a type of mouse action. Dhown here are two e,amples2 the default actions for the conte,ts *D* note left drag Aabove rightE and *D* piano roll left drag ArightE. >y default many actions are already defined. For e,ample, simply dragging a *D* note Aor selection of notesE will by default move the noteAsE, whereas holding Ctrl while you do this will copy them. )s you go down the list some of these defaults become Huite interesting. For e,ample, holding Dhift and )lt while dragging a marHueed selection of notes will stretch the selection out hori<ontally so as to arpeggiate the notes. Dimple click and drag in the empty piano roll area will first draw a note, then e,tend it as the mouse is dragged. Sarious keys can be used with this for other actions. For e,ample, holding Ctrl and )lt while dragging will paint a straight line of notes between mouse up and mouse down. ?otice that many of the possible assignments are not used. Kou can click on any of these for a list of assignable actions that you can use for these. Kou can also use this method to change any e,isting assignments. Dhown below right are some of the actions which are available to be assigned to any modifier in con@unction with left click3drag with *D* notes. *f you use the *D* (ditor a lot, you should take the time to e,plore @ust For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) !11

Up and Running: A REAPER User Guide v 4.59

what is available for the different conte,ts. Take the time also to look at the 3171 Edi%or rig$% drag assignments. )s well as several variations to set marHuee behavior Aselect notes, add notes, toggle selection, etc.E there is also an action using 9%r/ A/% to select all notes touched while freehand dragging. Kou:ll find more information about mouse modifiers in Chapter %1.

#!.!9 3171 Edi%or Ac%ions

'()P('Is )ction list (ditor lets you assign keyboard shortcuts to any command or action, or seHuence of actions. Chapter %1 will show you how to use the )ction list editor, but itIs worth taking a Huick look at some of its basic features now, while youIre working in the *D* (ditor. The )ction list is displayed by choosing 6$o' ac%ions /is% from the Ac%ions menu. Bne of the first things to notice about it is that it contains a whole load of assignable actions beyond those that are shown on '()P('Is menus. This means that you are able to create your own keyboard shortcuts for any of these actions, and even for seHuences of actions. ?otice also ArightE that when using the *D* (ditor )ction Oist, you are able to assign *D* commands and actions to keystrokes so that those keys will behave differently in the *D* (ditor from the way they behave in the main '()P(' environment. Kou can see that thereIs Huite a few, and that some already have keys assigned to them. Kou can assign your own keys to other actions. OetIs take a simple e,ample. >eing able to select notes Huickly and easily is important when you are working with the *D* editor. *f in the )ction Oist filter bo, you type add no%e then only those actions which included these characters will be displayed Asee aboveE. Bne of these is Add ne4% no%e %o se/ec%ion. Kou can assign a shortcut to this action G perhaps the letter ?. E4a)p/e %. =ith any *D* item open in the *D* (ditor, choose the Ac%ions? 6$o' ac%ions /is% command. !. Click on the action Add ne4% no%e %o se/ec%ion. 1. Click on the Add> button. This causes the Heyboard or 3171 1npu% window to be displayed. &. Press the letter =. Click on *H. Kou can see that this keystroke has now been assigned to this action. P. 9/ose the )ctions Oist. R. Click on any note to select it. ?ow press = several times. (ach time you do so, the selection will be e,tended by one note. Kou could now move these notes together, or assign them to a different channel, or delete them, or perform any other editing action. ThatIs about as simple as it gets. )s youIll see in Chapter %1, the )ctions Oist (ditor lets you do much more than @ust this. For e,ample, you can2 Chain together any seHuence of actions so that the seHuence can be e,ecuted with a single keystroke. )dd actions and custom actions to your *D* (ditor toolbar and3or the *D* editor )ctions menu, and3or any of '()P(':s *D* (ditor menu commands AFile, (dit, ?avigate. Bprtions, etc.E -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 !1&

#! - 3anipu/a%ing and Edi%ing 3171 1%e)s

'()P(':s *D* (ditor commands Asuch as (dit .Z Delete events, (dit *nsert note, (dit Fuanti<e, ?avigate Delect ne,t note, Bptions Correct overlapping notes when editing, etc.E can all be found in the )ction list. *n addition there are many hundreds of actions, some very precise, which are not shown on the menus. The table that follows should help guide you thru many of these. E4a)p/es of 3171 Edi%or assignab/e ac%ionsAnot fully comprehensiveE *nvert selection, Delect all notes with same note value, Delect note nearest to edit cursor, Delect all muted notes. )dd ne,t3previous note to selection, )dd note nearest edit cursor to selection. Delect3unselect all CC events, Delect3unselect all CC events in last clicked lane. Delect all notes in time selection, Delect all notes starting in time selection, Delect all CC events in time selection Aseveral variationsE. Color notes by velocity3channel3media item custom color3using colormap3by track custom color. Delete all notes3trailing notes less than [%3%!6 to %36\ note in length. Oengthen3shorten one grid unit3one pi,el. ake notes legato, preserving note start times3relative note spacing. ove notes down3up one octave3semitone. ove notes left3right one grid unit3one pi,el. (dit note velocity W3. "%3%". Det note length to grid si<e3double3half. Trim left3right edge of notes to edit cursor. *nsert note [%3%!6 to %] note length. Det note ends to start of ne,t note. Det note position to edit cursor. Dplit notes on grid. Copy3cut3duplicate notes within time selection, Fit notes to time selection. Paste events into active media item regardless of source media item Aallows items to be copied from a selection of media items into a single media item.E . Ooop point2 set start3end point. 'emove loop point. Double3halve loop length. Det time selection to selected notes, 'emove time selection, 'emove time and loop point selection. ove cursor to start3end of loop3time selection. )ctivate ne,t3ne,t visible3previous3previous visible visible3previous3previous visible *D* track. ?e,t3previous CC lane. Det CC lane to ,,,. Dhow only channel ,,, Dhow only ne,t3previous channel, Toggle channel ,,, Color notes3CC by channel. Cursor advance [%3%!6 to %\. Cursor advance [%31!T to %3&T\. )lign lyric events with notes. *mport lyrics for selected noted from file. *nsert3edit te,t3lyric event at first selected note. Delect ne,t3previous lyric event. Dhift lyric events backward3forward one note. )ctions are available to set mouse modifier behavior within the *D* (ditor for each of the categories CC event left click3drag, CC lane left drag, *D* editor right drag, note edge left drag, note left click, note left drag, piano roll left click, piano roll left drag, ruler left click and ruler left drag. The list of options is e,haustive G see the )ctions list itself for details. *D* item. )ctivate ne,t3ne,t

9a%egory&Group =o%e&even% se/ec%ion

=o%e edi%ing& )anipu/a%ion

.oop&%i)e se/ec%ion

Ac%iva%e i%e)&%rac( Awhen working with multiple items3tracksE 99 /ane )anage)en% 9$anne/ disp/ay 9ursor )ove)en% .yric even%s

3ouse )odifiers

For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) !1P

Up and Running: A REAPER User Guide v 4.59

#!.A" 1n-.ine 3171 Edi%ing
'()P('Is main *D* (ditor is recommended for serious and in.depth editing of your *D* items. Mowever, many common tasks can be carried out using the in.line editor if you prefer. This allows you to edit the *D* item without leaving the main window. To use the in.line editor on any *D* item, first select the item then either use the default shortcut key E or right click and from the menu choose *pen i%e)s in Edi%or then *pen i%e)s in 1n-/ine Edi%or. The in.line editor will only be displayed if there is sufficient track height.

The in.line editor displays piano roll view only, and the contents of CC lanes will be determined by whichever lanes were selected last time the item was opened in the *D* (ditor. *f it has never been opened in the *D* (ditor, the Selocity lane will be selected by default. Kou can ad@ust the boundary between the editing area and the CC lane with the mouse to ad@ust its height, @ust as in the *D* (ditor. 'ight.clicking over the editing area will display a menu that will show you which editing tasks can be carried out with the in.line editor. These are listed in detail in Chapter !", but in summary, the following types of commands and actions are supported within the in.line *D* editor2 ?ote editing mouse actions, including change length, change velocity, marHuee, move, delete and insert. ost commands on the *D* (ditorIs (dit and Siew menus, including Huanti<e and humani<e. =hen working with the in.line editor, any keyboard shortcuts and custom actions that you have defined in the main *D* (ditor will apply, along with any defaults. For e,ample, PageUp and Page7o'n will <oom vertically in and out within the in.line editor. Kou can run your *D* (ditor custom actions within the in.line editor. The in. line editor also displays a small toolbar in its top right corner. From left to right, the function of these tools is2 The 3ove 99 'i%$ even%s toggle tool2 serves the same purpose as its eHuivalent tool in the *D* (ditor window. The 6$o'&,ide tool Amagnifying glassE2 toggles between the functions Dhow all note rows, Mide unused note rows and Mide unused and unnamed note rows. The 1%e) 6%y/e tool2 toggles between rectangle, triangle and diamond note display style. The Ver%ica/ 6cro//&Qoo) tool. Click and hold on this and drag vertically up or down to scroll vertically up and down, left and right to <oom vertically in and out Asee e,ample, rightE. Kou can double.click on this button to <oom to contents. The 8 tool. This closes the in.line editor and restores normal display. The *D* (ditor and *n.line (ditor are designed for editing your *D* events. 'emember also that many of the item editing tasks, functions and activities that you discovered in Chapter R can also be applied to *D* items as a whole. For e,ample, in arrange view items can be dragged and dropped, split, copied, muted, grouped in selection sets, locked and so on. Plug.ins can be added directly to an item:s F; chain. Delecting a *D* item in )rrange view and pressing F! will display its *tem Properties window where you can shift pitch, change play rate, loop enable3disable, and do much more.

#!.A# 9opying 3171 1%e)s in Arrange Vie'

=hen you make a copy of a *D* item in arrange view, then depending on your preferences and on how you make the copy one of two outcomes will occur2 The first of these is that the new item will be created as a new instance of the original item, and as such will use the same source data as the original. *n this case, any changes made to either item will be applied to the source data, and therefore also to the other item. This might be what you want, for e,ample,if you have a melody, a bass line, or a drum pattern that you wish to repeat several times throughout a pro@ect. KouIre still -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 !1R

#! - 3anipu/a%ing and Edi%ing 3171 1%e)s

working on the line, and you may need at some future time to make changes to these items, and you wish to do this in such a way that when you make these changes to any one item they will automatically be applied to all of the others. *n the alternative scenario, the new *D* item becomes a discrete item in its own right, so that you can independently edit either item without affecting the other. >y default, when you copy and paste items using the menus or keyboard shortcuts Asuch as 9%r/ 6$if% 9 and 9%r/ VE, the former method Awith common source dataE is applied. The items are also added to the Pro@ect edia >ay Asee Chapter %%E where they are listed as *D* pool items.

*f you wish to change this default behavior, you should disable the preference Aunder *p%ions, Preferences, 3edia, 3171E to Poo/ 3171 source da%a '$en pas%ing or dup/ica%ing )edia i%e)s Asee also Chapter %QE. *tems will then by default be copied as discrete items. ?ote that a new *D* pool item is never created when an e,isting *D* item is split. ?ote also that by default *D* items added to a pro@ect from the Pro@ect edia >ay are not pooled. The default behavior when you copy an item by dragging with the mouse depends on your mouse modifier settings for the conte,t 3edia i%e) drag. >y default, the following apply when dragging *D* items2 7rag and drop 9%r/ with drag and drop 6$if% 9%r/ A/% with drag and drop ove item ignoring time selection Copy item as discrete item Copy item, pooling *D* source data.

For a complete list of mouse modifiers, see the (diting >ehavior, ouse odifiers page of your Preferences. Delect 3edia i%e) /ef% drag from the conte,t list. Kou can change any assignments if you wish. The method is e,plained in Chapter %1. Kou can remove any individual *D* item:s pooled status and convert it into a discrete item. To do this, either display the item:s source properties window A 9%r/ F! or use the conte,t menuE and click on Un-poo/ %$is i%e), or click on the item:s pooled status icon Asee rightE.

#!.A!

oining 3171 1%e)s

There may be times when you wish to @oin a number of *D* items together. This might, for e,ample, be to create a single loop enabled item, or simply so that you can edit them as one item, or perhaps to be able to e,port the *D* data as a single *D* file. For e,ample, you might have several *D* items that you wish to e,port together as a single file. The track shown below might be an e,ample of this.

Kou can select all of the items Aright.click and drag is often the easiest way to do thisE and glue them together2 right.click anywhere on the selection and choose G/ue i%e)s from the conte,t menu. For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) !1#

Up and Running: A REAPER User Guide v 4.59

Kou can then double.click on the glued item to open the *D* file AFi/e, E4por% %o ne' 3171 fi/e >E.

*D* (ditor, from where you can e,port it as a single

#!.AA E4por%ing Pro:ec% 3171

From )rrange view, the Fi/e? E4por% Pro:ec% 3171 > command can be used to e,port either an entire *D* pro@ect or selected items or tracks within that pro@ect to a single

*D* file. )n e,ample of such a pro@ect file is shown here. *t includes si, tracks with *D* events A a different channel for each trackE, enclosed in a folder whose F; chain includes a virtual instrument. For the most part, the options shown here reHuire little e,planation. Kou can choose to e,port the En%ire pro:ec% time or the current -i)e se/ec%ion on/y. Kou can include A// media items within the pro@ect, or 6e/ec%ed %rac(s on/y or 6e/ec%ed i%e)s on/y. *n the e,ample shown, A// *D* items has been chosen. Kou can merge the various *D* tracks to a sing/e 3171 %rac( in the output file or e,port it as a 3u/%i%rac( 3171 fi/e, with the integrity of the different tracks maintained in the output file. Kou also have options to E)bed %e)po )ap and3or +ri%e pro:ec% )ar(ers as 3171 cues.

#!.A4 Feedbac( Rou%ing 'i%$ 3171 -rac(s

=e have already mentioned AChapter !E that '()P(':s pro@ect settings allow you to use feedback routing. Kou will need to enable this feature if you wish to route *D* output from one track to another, then audio output from the second track back to the first.

#!.A5 3171 Rou%ing? 3171 5uses and Re+ire

'()P(':s *D* routing capabilities can be enhanced by the use of *D* buses. >y default, your *D* tracks can contain up to %R *D* buses, each comprising %R *D* channels. =hen sending *D* data from one track to another, you are able to specify bus3channel combinations for both the source and destination tracks rather than @ust a channel. These options are available in the drop down lists in the *D* send3receive windows Abelow rightE. *D* data sent from one track to another in this way can be directly routed to any SDT or )- synth in that track:s F; chain. To do this, right.click over the plug.in:s 7! But8 button and choose the reHuired *D* >us from the *D* *nput menu Abelow rightE. -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 !16

#! - 3anipu/a%ing and Edi%ing 3171 1%e)s

The same conte,t menu can also be used to assign *D* Butput to any bus, and3or to assign the synth:s audio output to any track channel or channels. 'e=ire users may be interested to know that *D* data routed in this way can be also be mapped to 'e=ire, using any permutation of buses3channels that you reHuire. For more information about using 'e=ire with '()P(', see Chapter %P.

#!.A@ 6o)e 3171 P/ug-ins

'()P(' includes a good selection of plug. ins that can be placed into the F; chain of any of your *D* tracks, or directly into any *D* item. any of these Athe *; seriesE have been written and developed by Philip Consadine. ?ow is a good time to take a look at them. The basic steps involved in inserting and using Track F; are covered in the section Track F; >asics. *f you are unfamiliar with these steps, you should review that section before proceeding. *f you display the Add F8 window and type midi into the filter list bo, Aas shown hereE, you will see a list of those *D* F; that are currently available. >elow are listed some of the $D *D* F; supplied with '()P('. F8 =a)e 3171;99Rider 3171;7up/ica%eFi/%er 3171;Hey3ap 3171;Hey6nap 3171;Rou%er 3171;-oo/ and 3171 -oo/ 11 )idi;%ranspose 3171;Varian% 3171;Ve/ocifier 11 )idi;ve/oci%ycon%ro/ 3171;+obu/a%or seIuencer;baby 6yn%$esis&)idi;dru)seI 9o))en%s ) OFB Controlled CC generator. >locks duplicate notes. ) *D* key mapping utility. This is a good cheat for bad pianists. 'outes events from one channel to another. These do interesting and fun things to Transposes a note or a range of note. ) pattern based, musically aware, randomification monster. This is a pattern based velocity modifier. -sed to vary and control velocity on a *D* track. ) OFB Controlled automatic pitch wobulator. )n awesome pattern seHuencer Asee later in this chapterE. -se this drum seHuencer with your favourite patch set. *D* note events.

For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) !1Q

Up and Running: A REAPER User Guide v 4.59

These plug.ins can be made even more powerful by the use of automation envelopes, which can be applied to any of their parameters. Mow to create, manage and apply automation envelopes will be covered in Chapter %R. For more information about how to use these and other *D* plug.ins, visit the Cockos web site, and in particular $%%p:&&'''.coc(os.co)&'i(i&inde4.p$p& esusonic;Effec%s;7ocu)en%a%ionZ3171

#!.AB 3171 9on%ro//ed Pi%c$ 6$if% 'i%$ ReaVoice

The ReaVoice plug.in Asupplied with '()P('E can be used in con@unction with a recorded vocal track to create pitch shift harmonies. )s with many other plug.ins, ReaVoice can be used in a number of ways. *n this section we will take you thru @ust one e,ample. )fter completing this e,ample you should be able to e,periment with this plug.inIs capabilities for yourself. The procedure for using 'eaSoice is as follows2 'ecord the Socal Track. *nsert a new track immediately below the Socal Track. Create a send from the Socal Track to the new track. *nitially at least, this should be Pre F;. *nsert 'eaSoice into the F; =indow of the new track. )rm this track for recording. Delect your *D* keyboard as the *nput Device and turn *nput onitoring on. ute all tracks e,cept these two. Play the song. )s you do so, play the keyboard, e,perimenting until you find an appropriate range of notes. =ork out what you want to play, press + to return to the beginning, then 9%r/ R to record. Dtop recording when finished. *f you do not have a *D* keyboard, you can either use '()P('Is Sirtual keyboard, or you can enter the notes by hand using the *D* (ditor. *f you wish, you can record more than one take, selecting P/ay A// -a(es for the *D* track items. )fter you have finished recording, you can use the *D* (ditor to polish up your work.

E4a)p/e *n this e,ample, youIll have some fun and e,plore how 'eaSoice works at the same time.
%. !. 1. &. P. R. #. 6. Bpen the file A// -$roug$ -$e =ig$%.rpp and save it as A// -$roug$ -$e =ig$% REAV*19E.rpp. ute all tracks e,cept the So, track. ove the So, track to the top, select it and press 9%r/ - to insert a new track. Kour So, track is now track % and the new track is track !. ?ame the new track Vo4 3171. Display the 1* window for the Vo4 3171 track and add a new Pre F8 Receive on Audio #&! from the So, track. *nsert the ReaVoice plug.in into the F; =indow for this track. For now make its settings as shown above. ?ote in particular the number of voices and the long sustain setting. *n the Vo4 3171 track, insert an empty *D* item from about the %1 second mark to about the P" second mark. This should coincide with the first vocal passage on the So, track. Double click on this to open it in the *D* (ditor.

-nlock your inner '()P(' with REAPER 4 Un/eas$ed2 !&"

#! - 3anipu/a%ing and Edi%ing 3171 1%e)s

Q. Create a pattern of notes similar to that shown below. Kou donIt need to follow this precise pattern, be prepared to e,periment.

%". )s you play the song, make sure that the two vocal tracks are soloed. Kou can of course edit any individual note or notes, for e,ample, by moving them up or down, by lengthening them or shortening them, or by changing their pitch. Mere are some more possibilities, @ust for fun and to give you some ideas. %%. =ithin the *D* (ditor window, press 9%r/ A to select all events. %!. Press 9%r/ F! to display the =o%e Proper%ies dialog bo,. %1. *n the =o%e bo,, type J! Aas shownE then click on *H. This raises the entire selection by two semitones. %&. (,periment with other settings as you wish. %P. Dave the file when finished. %R. ?ow e,periment with ad@usting some of the 'eaSoice settings.

#!.AC 3171 Preferences 6e%%ings

To specify your *D* preferences, choose the *p%ions? Preferences command A9%r/ PE and then select the 3edia? 3171 page. Kou:ll find these shown in Chapter %Q, but for now the following are worth noting. Kou can specify whether by default new *D* items are created as '()P(' media items Athe defaultE or . *D files. Kou can specify how your edits to imported . *D files are to be interpreted G that is, whether to apply your edits only to the item in the '()P(' pro@ect file or also to the original file on your disk. Kou can set the default behavior for imported multichannel *D* files G as multichannel on a single track, as single.channel items on multiple tracks, or always prompt to ask. There is also a page of *D* (ditor (diting >ehavior preferences Asee Chapter %QE. *n particular, this lets you determine '()P(':s default behavior when you wish to open the *D* (ditor with multiple items.

For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) !&%

Up and Running: A REAPER User Guide v 4.59

*n addition, the Edi%ing 5e$avior, 3ouse 3odifier pages contains several conte,ts in any or all of which you can assign commands and actions to be e,ecuted when various modifier keys ADhift, Ctrl, )lt, etc.E are used with your mouse. ouse modifier customi<ation is covered in Chapter %1. *n addition, some e,amples of this were discussed in an earlier part of this chapter.

#!.A9 Rea9on%ro/3171
The Cockos 'eaControl *D* plug.in can be used with any *D* track to set various *D* parameters on that track. *t can be inserted from the trackIs F; chain, or by right.clicking over the track name or number and choosing 6$o' Rea9on%ro/3171 for 6e/ec%ed -rac(s from the menu. )n e,ample of this plug.in in use is shown here. Kou can use several different instances of this plug.in on the one track to send different *D* messages to different channels. any D)=s have *D* tracks with *D*.specific controls, like bank3program select, *D* volume and pan, etc. '()P(' instead uses 'eaControl *D*, which provides a *D* track TCP for any track. This gives you additional fle,ibility, because you can insert multiple instances, or insert it at any point in an F; chain, either for the track as a whole or for individual items. ?otable features of 'eaControl *D* include2 .oad Fi/e2 Kou can load a '()P(' .reabank file or Cakewalk .ins file of instrument definitions and then select a preferred bank3program combination. 9on%ro/ 9$ange2 -p to five CC items can be selected from the drop down lists. )ny and all of the items available for CC lanes in the *D* (ditor are available here. 'eaControl *D* also gives you a vehicle for creating *D* CC track envelopes, by allowing automation of any of the plug.in:s enabled CC sliders. )utomation will be e,plained in Chapters %R and %#. Kou can also assign track controls to the TCP and3or CP to manage its various parameters. This is e,plained in Chapter %%.

#!.4"

6: 18&3171;Rou%er

This plug.in can be inserted from a track:s F; chain. *t is used to redirect *D* data from one channel to another. Kou can choose whether to send notes, non.notes, or both.

-nlock your inner '()P(' with REAPER 4 Un/eas$ed2 !&!

#! - 3anipu/a%ing and Edi%ing 3171 1%e)s

#!.4# -$e 6ca/e Finder
'()P(':s main )rrange Siew includes a feature that *D* users may find useful G the Dcale Finder. *t can be used to identify those scales which contain any given set of notes. The Dcale Finder is opened using the command Vie' then 6ca/e finder. ?otes can be typed from the computer keyboard or entered using a *D* device Aincluding the Sirtual *D* CeyboardE. The file sample reascale Aprovided and installed with '()P('E can be used with the scale finder, or you can click on the button at the bottom of this window and use the Ooad command to import a file of your own choosing. Kou also have the option to use the notes that are currently selected in the *D* (ditor.

#!.4! +or(ing 'i%$ Piano Ro// 6ynced %o Pro:ec% Arrange Vie'

Mere is one e,ample of how you can work with the *D* (ditor piano roll synced to the pro@ect. This is what we have done2 %. 'ecorded a percussion instrument as a wave file and, using stretch markers, dynamic splitting, or any other techniHue, edited this item so that the notes are e,actly as we want them. !. Created a new empty *D* item and opened it in the *D* editor. 1. -sed the *D* editor command Vie'? Piano ro// %i)ebase? Pro:ec% sync. &. 'ight.clicked on title bar and chosen 7oc( +indo'. P. Clicked on the 2 in lower left corner of docker and deselected Ai.e. untickedE the option A%%ac$ doc(er %o )ain 'indo'. R. Clicked on the 2 in lower left corner of docker and chosen 6e% opaci%y? B5\. =e can now move the *D* editor window and place it over the previously recorded track2 this helps us visually in using the *D* editor to add the notes for our ne,t percussion instrument.

#!.4A 1n%roducing 6eIuencer 5aby

DeHuencer >aby is a pattern seHuencer which can be used to play a *D* synthesi<er under program control. This section is intended to introduce relatively new users to the concept of pattern seHuencing, together with a simple e,ample of how one can be used. >eyond this, don:t hesitate to e,plore and e,periment for yourself+ /o to $%%p:&&s%as$.reaper.f)&#C59C&seIuencer;baby;v!;:nif.Dip to download Sequencer Baby v2. Unzip the file and instal it to your REAPER Effects Synthesis folder. =e:ll start by working thru a step by step e,ample, then go on to e,amine DeHuencer >aby in more detail. E4a)p/e %. Create a new file, and insert a single track. !. Bpen the track:s F; chain and add an instance of 6: 6yn%$esis&seIuencer;baby;v!. 1. Kou need a synthesi<er to use with DeHuencer >aby. Kou could use a synthesi<er of your choice, but for this e,ample insert an instance of Rea6yn%$. For now, leave its settings at their defaults, e,cept Aas a For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) !&1

Up and Running: A REAPER User Guide v 4.59

precautionE Solume. Det this to about .%P d>. *f this later turns out to be too low, you can raise it. &. )lso as a precaution, insert the 6: U%i/i%y&/i)i%er and set )a4 vo/ to .1." d>. P. Delect the DeHuencer >aby plugin. Dome of its main controls are shown below. R. Click and drag in a few places Ae,ample shown rightE to enter a note pattern. #. Click P/ay on '()P(':s transport bar. This pattern will play over and over again. 6. Dtop playback. Change the no%e s%ar% value to #P and play again. ?otice the music is higher. Dtop playback, change this value to P" and play again. *t will now be lower. Det this back to R". Q. Change 6eIuence /eng%$ to !&. The seHuence becomes longer. Draw some more notes. %". Det =u)ber of no%es to !&. Kou now have a greater range of notes to choose from. %%. Click on the number # above the pattern grid Abut below the parameter controlsE. ) new screen is shown2 here you can create another pattern. Do this+ %!. ?ow hold the A/% button while clicking on the number # button. ?otice the color of the column headers changes. %1. Play the music. The two patterns A" and %E are now chained. Kou can chain up to %R patterns. %&. *f you wish, save the file. Kou can also record the synth:s output as an audio media item. To do this, arm the track for recording, choose Record ou%pu% from the record arm conte,t menu, then press 9%r/ R. =o%e: The four lanes below the pattern grid area can be used to set modulation, volume, pan and3or e,pression values for individual notes or any seHuence of notes. Click3sweep to create an envelope2 right.click on any node to delete it, right.click3sweep to delete entire envelope. Dhown here is a pan e,ample. 6u))ary E4a)p/es of 6eIuencer 5aby Heyboard&3ouse 9on%ro/ 9o)bina%ions .ef% c/ic(-drag Draw new notes3 erase e,isting notes. Rig$% c/ic(-drag )udition notes without drawing. 6$if% 9%r/ A/% .ef% c/ic(-drag 7Dweep8 draw notes freehand 3 erase e,isting notes. 9%r/ .ef% c/ic(-drag )d@ust note velocity. 6$if% .ef% c/ic(-drag )d@ust note start offset.. 9%r/ .ef%-c/ic( & 9%r/ Rig$%-c/ic( Malve steps per beat, slow down 3 Double steps per beat, speed up. .ef% c/ic( pa%%ern nu)ber Delect pattern number. 9%r/ rig$%-c/ic( pa%%ern nu)ber Clear pattern. A/% .ef%-c/ic( pa%%ern nu)ber Det pattern chain end. ) more complete list can be displayed by clicking on the plugin:s Edi% button. -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 !&&

#! - 3anipu/a%ing and Edi%ing 3171 1%e)s

#!.44 Using 3171 99 3essages %o 9on%ro/ F8 Prese%s
This is an advanced topic and as such not recommended for novice users.
>ank3Program Delect CC messages can be used to switch programmatically between presets for any F; on any track during playback in real time. This can be done using a dedicated *D* item that is placed on the same track as the media item containing the F; whose presets you wish to automate. The procedure can be a little bit 7fussy8 so be prepared to take your time over this, especially at first, until you get used to it. %. )fter recording the item, insert the reHuired F; into the track:s F; chain and Aif it is not already displayedE import the reHuired preset library. To do this, click on the J symbol to the right of the presets drop down and choose 1)por% prese% /ibrary E.rp/F. The available presets can now be displayed from the presets drop down list. The e,ample here shows the default presets library for 'eaDelay, but you can do this for any plug.in. Kou could delete any presets that you do not wish to keep and3or create and save more presets of your own if you wish. The self. evident commands for doing this can be found on the same presets J menu that you used in step %. above. *f you do this, it is recommended that you then e,port the presets library with a new name. For the purposes of this e,ample, we will be content to use @ust the supplied set of 'eaDelay presets shown on the right. Kou now need to create a .reabank patch3bank file. This is in fact an ordinary te,t file, but it must be laid out in a certain way, and it must be saved with a .reabank e,tension. Kou can use any te,t editor for this. $oel Dampson has available Afree of chargeE on his web site an e,cellent and comprehensive P page PDF manual e,plaining @ust about every aspect of reabank files and how to create them. Dummary instructions follow below, but * would strongly recommend that you download and study -$e Ar% of Reaban(s from '''.d:e)berecords.co)&reaper.$%)/ )n e,ample of a reabank file for the default 'eaDelay preset library is shown here. *n this case, ?otepad has been used to create the file. ?ote the comments at steps # and 6. The bank line is the first line of the file. *t sets the most significant byte A D>E and least significant byte AOD>E of the >ank Delect number, then the bank name. Kou can set both numbers at <ero. (ach subseHuent line consists for each preset of its patch number Astarting at <eroE and its name, which is shown here the same as the name displayed in the F; presets drop down. Mowever, you may use different names if you wish, as the selection process is based on the patch number. Dave the file and close the te,t editor when finished. ) fairly sensible place to save it is in a subfolder of your U)pplication DataU'()P('UData folder or eHuivalent Adepending on whether you are using =indows or BD3;, and which versionE G but that:s up to you.

!.

1. &.

P.

R.

#.

6.

Q.

%". Dtart '()P(' and open the appropriate track:s F; chain. Delect the F; and from the preset J menu select .in( %o 3171 progra) c$ange and select a channel Ae.g. Channel %RE. This will make the controlling *D* messages distinct from any others. %%. From the track:s conte,t menu, set Enab/e %rac( free i%e) posi%ioning on. This command will now appear on this menu with a tick beside it. >y enabling free item positioning you are ensuring that you can place two or more items underneath each other on the same track. %!. Delect the track that contains the media item with the F; plug.in whose presets you wish to control. -se your mouse to make a time selection that includes this item. ?ow from the 1nser% menu choose =e' 3171 i%e) to create an empty *D* item alongside Aparallel toE the e,isting media item. The result of this is shown below2

For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) !&P

Up and Running: A REAPER User Guide v 4.59

%1. Bpen the empty displayed.

*D* item in the

*D* (ditor, and make sure that the 5an(&Progra) 6e/ec% lane is

%&. )t the point where you want to make your first automated preset change, double.click in the >ank3Program Delect CC lane. This will display the >ank3Program Delect dialog bo,. %P. Click on .oad Fi/e. ?avigate to and select the file that you saved at step Q. and click on *pen. %R. The preset bank will now be loaded. Display the Program drop down list and select the reHuired preset Asee rightE. >e sure to select the same channel as you specified at step %". Click on *H. %#. 'epeat step %R. as many times as you wish to create as many automated preset changes as you reHuire. %6. Kou should now be able to see your program changes displayed in the *D* (ditor CC lane Asee belowE.

%Q. Play the song. Kour 'eaDelay presets will now automatically change according to your instructions+

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#A - 9us%o)iDa%ion: Ac%ions? 3ouse 3odifiers? 3enus and -oo/bars #A 9us%o)iDa%ion: Ac%ions? 3ouse 3odifiers? 3enus and -oo/bars
#A.# 1n%roduc%ion
Customi<ation is the key to unlocking '()P(':s real power and making the program work for you. The more you use the program, the more you will benefit from customi<ing its many features. (ven occasional users will find that they can benefit from taking the time at the very least to tweak some of '()P(':s mouse modifiers and keyboard shortcuts. That:s what this chapter is about. >y now you should already have come across some of '()P(':s options and preferences settings and it:s Huite likely that you might have already changed some of these to suit your own workflow. This chapter really lifts the lid on customi<ation and will guide you thru the following2 Ac%ions. '()P(' makes e,tensive use of keyboard shortcuts. *n addition, it has a library of hundreds of actions that you won:t find on any of its menus, actions which can help you with any number of tasks. oreover, you can string whole seHuences of these actions together to make your own custom commands which can then be triggered off by a single keystroke. 3ouse 3odifiers. '()P(' uses the mouse for plenty of activities, some of which you have already encountered Alike moving and copying media items and making time and loop selectionsE, some of which you have not yet encountered Alike editing automation envelopesE. Dome of these you will use a lot, some you will use a little, and some you will only use rarely, if ever. )ny of them can be changed. 3enus. ost '()P(' menus can be edited to suit your own reHuirements. Kou can move to the top the commands most important to you. Kou can hide the ones you never use. Kou can even add your own custom actions and commands to these menus+ -oo/bars. '()P(':s toolbar might not be much to look at, with its lonely collection of @ust fourteen tools. Did you know, though, that you can add your own tools to it, as well as create your own e,tra toolbars4

These are the topics that will be covered in this chapter. Dpend as much time as you need to get to understand it. *t will pay you dividends.

#A.!

REAPER Ac%ions Essen%ia/s

>efore we look inside '()P(':s )ction Oist (ditor to e,plore the world of shortcut keys, custom actions, control surface assignments and more, it:s worth taking stock of a couple of useful resources that are available to you. Choose the ,-3. .is%s Eau%ogenera%edF command from '()P(':s ,e/p menu and you will have three choices. 3ouse )odifier (eys and ac%ion s$or%cu%s opens your default web browser with a list of all current keyboard shortcut and mouse modifiers. This list is searchable and may be printed. Ac%ions opens your default web browser with a list of all of '()P(':s many available actions, any of which can be assigned to a keyboard shortcut and3or combined with other actions into your own custom actions. This list is also searchable and may be printed. Rea6crip% docu)en%a%ion. $ust what 'eaDcript is will be e,plained later in this chapter and in Chapter !!. >efore you rush off to print anything, keep in mind also that this information is also contained within the )ction Oist (ditor itself, and that this editor is searchable. The editor is opened by choosing the Ac%ions command from '()P(':s main menu, then 6$o' ac%ion /is%..., or simply by pressing the X Cey. Oet:s take a look inside J

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Up and Running: A REAPER User Guide v 4.59

#A.A -$e Ac%ion .is% Edi%or Environ)en%

Kou:ll get more out of '()P(':s )ction Oist (ditor Ashown belowE if before trying to use it you take a little time getting to know its interface, its structure and how you can navigate it.

1%e) Fi/%er

9o))en%s Kou can filter the list of displayed actions using any te,t string or strings that you like. For e,ample, in this screen shot the list has been filtered to show only those actions that relate to track height2

?otice that where an e,isting keyboard shortcut e,ists it is shown to the left of the action. For e,ample, the 2 Cey is used to toggle the action Vie': E4pand se/ec%ed %rac( $eig$%? )ini)iDe o%$ers. Dimilarly, you can see that 9%r/ 6$if% 3ouse'$ee/ can be used to ad@ust the height of any track selection.

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#A - 9us%o)iDa%ion: Ac%ions? 3ouse 3odifiers? 3enus and -oo/bars

1%e) Fi/%er Econ%.F 9o))en%s

*n this second e,ample, a filter is used to list all actions relating to new tracks. The only one of these that currently has an assignment is -rac(: 1nser% ne' %rac(, This is assigned by default to 9%r/ -. 9/ear Find s$or%cu%... The 9/ear button clears any current filter and restores all actions to the list. The Find s$or%cu%... button is used to see if a particular keyboard shortcut has already been assigned to any action. =hen you click on this button, you are prompted to type the key or move a *D* controller. =e:ll come to *D* controllers later in this chapter. *f the key that you type is already in use, then its assignment will be displayed Asee belowE.

*n this e,ample above, we have searched to see if an assignment e,ists for the letter s. For this kind of search, you should only type in upper case if you really are searching for the combination of Dhift with the letter. For e,ample, in this case, a search for 6$if% 6 would have produced 1%e): 6p/i% i%e) a% %i)e se/ec%ion. *n this second e,ample, we have searched for 9%r/ A2

*f no shortcut e,ists for the key or key combination for which you are searching, then a message 6$or%cu% no% found will be displayed. 9o/u)n $eaders& 6or% (eys The 6%a%e column indicates for toggle actions whether their current status is on or off. >y default, actions are listed in alphabetical order of their action name. Kou can click on the 6$or%cu% column header to sort instead on current keyboard assignments. This causes them to be sorted instead by keyboard assignments, with special characters and numbers at the top of the list Asee belowE.

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Up and Running: A REAPER User Guide v 4.59

1%e) 9o/u)n $eaders& 6or% (eys Econ%.F 9o))en%s

This can be especially helpful if you wish to familiarise yourself with '()P(':s current keyboard shortcut assignments. Click on the column header again to reverse the sort order. Click on Description to sort them back into alphabetical order. 6ec%ions The )ction Oist is divided into a number of sections, shown here. The ain section is the one that is used most of the time Afor e,ample, when you are working in )rrange viewE. There are different sections, for e,ample, for actions and shortcuts for use with the edia (,plorer and the *D* (ditor. *f you open the )ction Oist from within one of these environments, the correct )ction Oist section will automatically be selected for you. Btherwise, you can select any section from the drop down list and that section:s actions will also be selected and displayed in the action list. )ny action that is on the action list can be e,ecuted from within the action list whether it has a shortcut key assigned or not. Dimply select the action, then click on the Run button. *f the option 6$o' recen% ac%ions is enabled on '()P(':s main menu AaboveE then any actions that you e,ecute in this way during your current work session will be added to '()P(':s )ction menu and can be e,ecuted from there for the rest of that work session. =hen you close '()P(', these actions will be cleared from the menu. This button is similar to the Run button, the main difference being that after running the selected action it closes the )ctions window.

Run

Run&9/ose

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#A - 9us%o)iDa%ion: Ac%ions? 3ouse 3odifiers? 3enus and -oo/bars

1%e) 9/ose Re)e)ber /as% fi/%er 9o))en%s This closes the )ctions window. *f this option is enabled Afrom the )ction window right.click conte,t menuE then '()P(' will remember your most recent filter and apply it ne,t time the )ctions window is opened, even in a future work session. The )ction window e,hibits the basic characteristics of other '()P(' windows. For e,ample, you can use the pin symbol Atop rightE to keep it on top, or you can dock it in the docker Afrom the right.click conte,t menuE.

Genera/

Kou:ll have noticed several other features inside this window, including a number of additional buttons, some of which are currently dimmed. =e:ll get to these in due course.

#A.4

9rea%ing a =e' Heyboard 6$or%cu%

*n this ne,t e,ample, we will create a new shortcut. OetIs take the e,ample of the docker. Filter the action list on 7dock8 and you will see that Vie': A%%ac$&una%%ac$ 7oc(er %o&fro) )ain 'indo' does not yet have any shortcut key assigned to it. Oikewise, if you use the Find s$or%cu% > button to search for lower case 7, you should find that this letter does not have any action currently assigned to it. *ncidentally, '()P(' will not let you accidentally override an e,isting keyboard assignment. *f you try to use a key that is already assigned elsewhere, you will see a message similar to that shown here ArightE. Trying to assign lower case U to an action would produce this e,act message. Kou would then have the option as to whether to change the assignment for this key or leave it as it is.

E4a)p/e
%. !. From the Ac%ions menu, open the Ac%ions window A6$o' ac%ion /is% >E OetIs see if we can use 7 for docking. Click in the Find s$or%cu% > window. Type lower case 7 and observe the response. Kou should see a message 6$or%cu% no% found. =e therefore know that this keystroke combination is available. Click on *H to close this message bo,. *n the Fi/%er bo, type doc( then select from the list of actions Vie': A%%ac$&una%%ac$ 7oc(er %o&fro) )ain 'indo'. Click on the Add button to open the Heyboard or 3171 1npu% bo,. =hen it appears, untick the option Au%o)a%ica//y c/ose 'indo' on (ey&3171 inpu% . This makes it less likely that you will assign a wrong key by mistake. Press lower case 7 G you will see 7 displayed in the Heyboard or 3171 1npu% bo, Asee aboveE. Click on *H. Kou can see that this keyboard shortcut has now been assigned. Close the Ac%ions window. For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) !P%

1.

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P. R. #.

Up and Running: A REAPER User Guide v 4.59

6. Kou can now use the shortcut key lower case D to attach3detach the docker to3from the main window.

#A.5

Re)oving an E4is%ing 6$or%cu%

'emoving an e,isting shortcut is easy. For e,ample, you might like to remove the shortcut that you @ust assigned to the action Vie': A%%ac$&una%%ac$ 7oc(er %o&fro) )ain 'indo' . Follow this seHuence2 %. *n the )ction Oist, find and select the action from which you wish to remove the shortcut. The current shortcutAsE will be displayed @ust below the list. Asee rightE. Click on the shortcut shown in the window Ain this e,ample, the letter DE. Click on the 7e/e%e button. The shortcut will be deleted.

!. 1.

#A.@

9$anging an E4is%ing Hey Assign)en%

The procedure for changing an e,isting key assignment combines the two techniHues of creating a new shortcut and removing an e,isting one. Oet:s take as an e,ample assigning the Up and 7o'n arrow keys to the actions -rac(: Go %o previous %rac( and -rac(: Go %o ne4% %rac(, instead of 9%r/ A/% Up and 9%r/ A/% 7o'n Athe default assignmentsE. %. Find and select the action -rac(: Go %o previous %rac(. !. *n the displayed list of shortcuts, select 9%r/ A/% Up Asee rightE. 1. Click on 7e/e%e to delete this shortcut. &. Click on Add... to display the Heyboard or 3171 1npu% window. P. Press the Up arrow Asee rightE, then click on *H. R. =hen asked if you wish to override the current assignment to Siew2 Toom in hori<ontal, choose *H. Kou will still be able to use the Plus key to <oom in hori<ontal. #. -se the same techniHues as at steps as at steps %. to R. to change the shortcut key for -rac(: Go %o ne4% %rac( from 9%r/ A/% 7o'n to @ust 7o'n.

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#A - 9us%o)iDa%ion: Ac%ions? 3ouse 3odifiers? 3enus and -oo/bars

#A.B E4a)p/es of Possib/e 6i)p/e Heys%ro(e Assign)en%s

any power users believe that keyboard shortcuts are the fastest, most efficient and most productive way of working with '()P('. This is especially the case for freHuently repeated activities that might otherwise involve a lot of time fiddling around with the mouse. Ceyboard Dhortcuts are an e,tremely important feature of '()P('. )s you work your way thru this -ser /uide, 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. Mere are some e,amples of some tasks for which you might consider it worth assigning shortcut keys in the ain section, together with suggested keys that you may wish to use. -as( -rac(: -ogg/e bypass F8 for curren%/y se/ec%ed %rac(EsF -rac(: -ogg/e bypass F8 for a// %rac(s -rac(: Vie' F8 c$ain for curren% %rac( -rac(: Vie' 1* for curren% %rac( -rac(: Vie' enve/opes for curren% %rac( Possib/e 6$or%cu% Hey 5 9%r/ 5 9%r/ F 1 H

#A.C

Heyboard 6$or%cu%s for Recording

'()P(' makes e,tensive use of keyboard shortcuts in many, many areas. *n this section you will be introduced to how you can create your own keyboard shortcuts to make your recording sessions flow more smoothly. Mere is a simple e,ample in which you will create two keyboard shortcuts specifically for use when you are recording. )s you become more e,perienced, you may well find further e,amples that you will wish to e,plore. Kou will have noticed that when you stop recording, '()P(' by default prompts you to confirm whether you want to save or delete the new media items. The ain Aalt recordingE section of the )ction Oist gives you the opportunity to bypass this prompt by assigning keyboard shortcuts for those options that you use most often G 6ave A// and 7e/e%e A//. )s with the earlier e,amples, it is only an e,ample. Kou:ll probably find the e,ercise worth completing even if you don:t want to keep these keyboard shortcuts assignments. %. !. 1. &. P. R. #. 6. Q. %". *n the )ctions Oist (ditor, select the section 3ain Ea/% recordingF G see right. *n the filter bo, type s%op save. Kou should see the action -ranspor% 6%op Esave a// recorded )ediaF Delect this action. Click on Add > and type lower case 6 then click on *H. Clear the filter bo,, then type in it2 s%op de/ Delect the action -ranspor%: 6%op E7E.E-E a// recorded )ediaF. Click on the Add button then type lower case 7 to assign this shortcut to the letter D. Click on *H. Clear the filter bo, again. Close the Ac%ions window. ake sure that the option to Use a/%erna%e (eyboard sec%ion '$en recording is enabled. KouIll find this under *p%ions? Preferences? Genera/? Heyboard.

%%. Click on *H to close the Preferences window.

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Up and Running: A REAPER User Guide v 4.59

From now on whenever you are recording, you will have the option of using the shortcut keys 6 or 7 to stop recording, automatically saving or deleting the newly recorded media items. Kou can still use En%er if you wish to be prompted. 'emember too that when you are not recording, the keys 6 and 7 will revert to their normal functions. For e,ample, 6 can still be used to split media items when working in arrange view. -ip: *f you wish, you can assign macros such as these to an e,ternal device such as a keyboard pedal. =e:ll look at this when we look at -sing a Control Device with '()P('.

#A.9

Heyboard 6$or%cu%s for %$e 3171 Edi%or

(diting is one area where assigning actions to shortcuts can be especially useful, and nowhere more so than when you are using the *D* (ditor. Take the trouble to familiarise yourself with the contents of the *D* (ditor section of the )ction Oist and you should be well rewarded. ?otice also that there are separate sections for the *D* (vent Oist (ditor and the *D* *nline (ditor. The method used for assigning shortcuts to actions, changing or removing e,isting assignments, etc. is e,actly the same as that used in the ain section. For that reason, this section of the -ser /uide does not contain any step by step e,amples. Mowever, below are listed some e,amples of some actions that you might find useful when working in the (ditor. Dpecial thanks go to Dusan / for compiling these lists. -o do %$is >. 3anaging =o%es *nsert notes of a specific length ake notes legato Transpose notes )d@ust note lengths slightly )d@ust velocities Display only notes matching specified criteria 9$anne/s 3anage)en% Dpecify a channel for new notes and events Dhow all or specified channels Change the channel for selected notes 9ursor&Grid 3anage)en% )dvance the cursor by a note value ove the cursor by specific amount Change the grid divisions Cursor2 advance J [range from %3%!6 ... to whole note\ (dit2 ove edit cursor right3left by grid3measure3pi,el )ction2 Det channel for new events to "% ...% R Channel2 Dhow all3only3toggle channels "% J %R (dit2 Det notes to channel "% ... %R *nsert note J. [range from %3%!6 to %3! to whole note\ Det note ends to start of ne,t note (dit2 ove notes up3down one octave3semitone (dit2 Oengthen3Dhorten notes one grid unit3pi,el (dit2 ?ote velocity W3."%, %" Filter2 Toggle filter on3off Use an ac%ion suc$ as ...

*D*

Grid: Multiply grid size by... or Grid: Set division to...

#A.#" Heyboard 6$or%cu%s for %$e 3edia E4p/orer

*f you work e,tensively with imported samples and so on, you should definitely take the time to get to know the range of actions available within the media e,plorer. >y now you should be developing enough confidence to e,plore this for yourself, but to help you here is a summary of some of the most useful groups of actions you will find there2 5ro'ser ac%ions2 these are used to navigate your folders. For e,ample, by default 5ac(space will take you to the parent folder Arelative to the current folderE. Previe' ac%ions2 actions e,ist for a host of tasks, including play, pause, stop, toggle repeat on3off, rewind a little, fast forward a little, stop preview when inserting media, and many more. -e)po )a%c$ ac%ions. These include tempo match off, tempo match on, toggle on3off, and tempo match3!.

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#A - 9us%o)iDa%ion: Ac%ions? 3ouse 3odifiers? 3enus and -oo/bars

#A.## Assigning Ac%ions %o %$e 3ouse'$ee/
Bne special type of action assignment that you can make is to the mousewheel, optionally also using modifier keys. This way you are able change the '()P(' default mousewheel assignments. This can be useful, for e,ample, if you wish the default behavior of the mousewheel to be to scroll rather than to <oom. Mere:s a reminder of the default mousewheel assignments2 3ouse'$ee/ a/one with 9%r/ with A/% with 9%r/JA/% with 9%r/J6$if% Siew2 Siew2 Siew2 Siew2 Siew2 Toom hori<ontally Toom vertically Dcroll hori<ontally Dcroll vertically )d@ust selected track heights

)gain, the method for changing these is essentially the same as that which you have already used. Duppose, for e,ample, that you wish to use the mousewheel by itself to scroll hori<ontally.
%. *n the action list, find the action Vie': 6cro// !. 1.

&. P.

$oriDon%a//y. *n the shortcuts list, select A/% J 3ouse'$ee/ and click on de/e%e. Click on the Add button, then scroll the mousewheel. The te,t ousewheel will be displayed, as shown on the right. Click on *H. *f you wished, you could now use the same method to assign A/% J 3ouse'$ee/ to the action Vie': Qoo) ,oriDon%a//y.

#A.#! E4por%ing and 1)por%ing Heyboard 6$or%cu%s

The 1)por%&e4por% button near the bottom left corner of the )ctions window can be used backup or restore any or all of your keyboard assignments. (,ported keymap sets are by default saved as .'eaperCey ap files in the UCey aps directory of your U)pplication DataU'()P(' folder. This feature can also be used to copy keyboard assignments from one computer to another. The options on the menu are for the most part Huite self.e,planatory2 1)por% > *mports keyboard assignments from an e,isting .'eaperCey ap file. E4por% a// > (,ports all your current keyboard shortcut assignments to a .'eaperCey ap file. E4por% se/ec%ed i%e)s > (,ports only those items currently selected to a .'eaperCey ap file. Res%ore a// s$or%cu% binding %o fac%ory defau/%s 'emoves your custom keyboard assignments and restores all '()P(' defaults. .'eaperCey ap files can also be included when e,porting3importing configuration settings Asee Chapter %QE.

#A.#A 9rea%ing 9us%o) Ac%ion 3acros

Kou can assign an entire seHuence of actions to a single keyboard shortcut if you wish. *n fact, there is no preset limit to the number of actions that you can assign to a single keystroke or keystroke combination. The process of assigning more than one action to a keystroke is known as creating a custom action, or macro. )s you browse the actions list, you might at first be somewhat pu<<led at some of the items that are there. Kou might wonder, for e,ample, why would anybody need an action for 1%e): 6e/ec% i%e) under )ouse cursor when it is surely easier @ust to click on the item. Bften with actions like this, the answer is that the real power of these actions comes not from using them on their own, but in combination with other actions.

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Up and Running: A REAPER User Guide v 4.59

3anaging 9us%o) Ac%ions E3acrosF O 6u))ary -ab/e 1n order %o do %$is ... 9rea%e a ne' )acro Add ac%ions %o a )acro 9$ange order of ac%ions Re)ove ac%ion fro) )acro Add )acro %o )ain Ac%ions )enu 9onso/ida%e )acro in%o a sing/e undo poin% 6ave )acro Assign s$or%cu% (ey %o a )acro Edi% an e4is%ing )acro 9opy an e4is%ing )acro Run an e4is%ing )acro 0ou do %$is ... Click on =e'... button. Type a name for your macro. Drag and drop from action list, or double.click. Drag and drop up or down the list. Delect action in macro action list, click on Re)ove. (nable the option 6$o' in ac%ions )enu. (nable the option 9onso/ida%e undo poin%s. Click on *H. Delect the macro in the )ction Oist. Click on Add. Delect the macro in the )ction Oist. Click on Edi%. Delect the macro in the )ction Oist. Click on 9opy. -se shortcut key Aif assignedE, or select the macro from '()P(':s )ctions menu Aif this option is enabledE, or select macro in )ction Oist and click on Run option. Delect the macro in the )ction Oist. Click on 7e/e%e.

7e/e%e an e4is%ing )acro

Oet:s take a simple e,ample. ?ormally, to split an item you would need to select the item, position the edit cursor at the reHuired position, and then press D to split it. >y creating a custom action, we can combine this seHuence of activities into a single keystroke.

E4a)p/e
%. *n the )ctions Oist (ditor, click on the =e' button. This will cause the 9rea%e 9us%o) Ac%ion window to open Asee rightE. Type a name, such as 6p/i% under )ouse. !. *n the list of actions shown in the left panel. Find the action Vie': 3ove edi% cursor %o )ouse cursor. Double.click on this action. 1. *n the list of actions shown in the left panel. Find the action 1%e):6e/ec% i%e) under )ouse cursor. Double.click on this action. &. *n the list of actions shown in the left panel. Find the action 1%e):6p/i% i%e)s a% edi% or p/ay cursor. Double.click on this action. -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 !PR

#A - 9us%o)iDa%ion: Ac%ions? 3ouse 3odifiers? 3enus and -oo/bars

P. Click on the option 9onso/ida%e undo poin%s to enable this option. R. Click on *H. Kou will be returned to the main )ction Oist with your new custom action selected. #. Click on Add and type lower case 9 to assign this keystroke to your macro. Click *H. 6. 9/ose the )ctions Oist (ditor. Q. Mover your mouse over any media item and press lower case 9. The item will be split at that point. Bne of the split items will still be selected. *f you don:t like this, you can edit the macro. %". Bpen the )ctions Oist (ditor, find your macro 6p/i% under )ouse and select it. Click on Edi%. )dd to the end of this macro the action 1%e): Unse/ec% a// i%e)s. Click on *H. %%. ?ow test the macro again. This time it will split items without leaving anything selected. This is of course @ust one e,ample of a custom action macro in action. Think about those seHuences of actions and commands that you use together a lot J think actions, think macros+ Kou:ll also find plenty of ideas and inspiration on -$e Usefu/ 3acro -$read on '()P(':s P]A? -ips? -ric(s and ,o' -o forum G at forum.cockos.com.

#A.#4 3171 Edi%or 9us%o) 3acros

*f you use the *D* (ditor a lot, then you should find that this is a good area in which to be looking for macros which will speed up your editing and make it simpler. The e,amples below were supplied by >evosss. They show that a macro doesn:t have to be lengthy and complicated to be useful -$is cus%o) ac%ion .... ?avigate2 select ne,t note right with same note value ?avigate2 move edit cursor to start of selection ?avigate2 select previous note right with same note value ?avigate2 move edit cursor to start of selection (dit2 Delect all 'emove selected duplicate events (dit2 -nselect all /rid2 Det grid division to % (dit2 *nsert note at edit cursor (dit2 -nselect all ... does %$is This will find the ne,t note with the same value as the current one, select it, and move the edit cursor there. This will find the previous note with the same value as the current one, select it, and move the edit cursor there. This macro removes all duplicate events from the current item. Creates and inserts a semibreve Aor whole noteE. The note duration sets the grid. Thus, you could have eHuivalent actions for any other fraction of a note or multiple of a note available in the actions list.

#A.#5 1)por%ing 6crip%s

For more advanced custom programs which go beyond chaining together actions, you can import into '()P(' custom scripts that you may have written or obtained and which add e,tra functionality to the program. For =indows users, Python will need to have been installed on your computer and 'eaDcript enabled on the Plug. ins, 'eaDcript page of your Preferences. Btherwise, these )ction Oist controls may be dimmed Asee aboveE. The topic of writing scripts is outside the scope of this -ser /uide, although there is a brief introduction to 'eaDcript in Chapter !!. *f you are interested in learning more you should visit the '()P(' web site, and in particular2 www.cockos.com3reaper3sdk3reascript3reascript.php Rea6crip% 7ocu)en%a%ion can also be opened from '()P(':s Melp, MT O Oists command.

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Up and Running: A REAPER User Guide v 4.59

#A.#@ Using a 9on%ro/ 7evice 'i%$ REAPER
) control surface such as a >ehringer >C'!""" or a ?ovation ?octurn can be used to control some of '()P(':s actions. Kou might also be able to use your pedals and other controls on a *D* keyboard in a similar way. (,amples might include track panning and volume, mute and solo status, arming and starting3stopping recording, and possibly to physically map '()P('Is transport bar for functions such as Play, Dtop, Pause, 'ewind, etc. Bf course, you will need to know the specific characteristics of your particular device, including how to install it, set it up and so on. That is obviously outside the scope of this -ser /uide. Kou should also be aware that different control devices have different capabilities and different applications. ?ot all control surfaces can be used to control all actions, even those that are listed as midi CC capable. Bbviously 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 categories2 Devices which can be recognised by '()P(' as a specific and individually named control surface. /eneric devices not specifically recognised but which can nonetheless be used as a control surface. *f you have a control device of a type listed in the illustration here, first make yourself familiar with its documentation. ?e,t, install the device and its drivers on to your computer in accordance with the manufacturer:s instructions. Kou should then be able to select it on the 9on%ro/ 6urfaces page of '()P(':s Bptions Preferences settings. Bf course, you should consult the manufacturer:s documentation and3or web site for further information. Kou may also be able to find further information on one of '()P(':s on.line forums. Choose the *p%ions. Preferences command, then select 9on%ro/ 6urfaces and click on Add to see a list of available devices Asee rightE. ?otice that the list includes an entry for devices which conform to the *69 E*pen 6ound 9on%ro/F protocol. *f you are intending to work with such a device, be sure to familiarise yourself with its documentation and characteristics before proceeding. *f you choose this option from the list, the screen that then follows will give you the opportunity to specify a device name and pattern configuration. This includes choices such as OogicTouch or OogicPad, or to tell '()P(' to write a sample AdefaultE configuration file. This file will contain the default mappings and various appropriate comments. Kou should also supply a port number Afor the transfer of messagesE and *P addresses for both the host and the device itself. /o to $%%p:&&'''.coc(os.co)&reaper&sd(&osc&osc.p$p to learn more about how '()P(' handles BDC and about '()P(':s Default.'eaperBDC file. For other Anon BDCE control devices, even if they are not shown on this list, you might still be able to install and use them if they are capable of emulating one of the devices that is listed Ae.g. M-* or ackie emulationE. Kou should check the manufacturer:s documentation and web sites.

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#A - 9us%o)iDa%ion: Ac%ions? 3ouse 3odifiers? 3enus and -oo/bars

*n every case, make sure that you choose the options that are correct for your device from the various 9on%ro/ 6urface 6e%%ings options. Dhown below is one e,ample of such settings, with a ?ovation ?octurn. This sample screen is not intended as a model for you to use with any particular product. Kou might wish to install several devices in this way. For e,ample, you might wish to use both a Frontier )lphaTrack and a Frontier Tran<port. This is perfectly possible, so long as each device is installed correctly. Kou will need to consult the product documentation to ascertain how then your control surfaceAsE can be used with '()P('. *f your device is not on the list of recognised control surfaces and cannot emulate any of the items on that list, you can still use it with '()P('. )n e,ample of such a product is the >ehringer >C'!""". Bnce it has been physically set up and installed on your computer, it will appear on the list of '()P(':s *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 U65 Audio 7evice. *nstall it as a *D* Device, most likely *nput Bnly and in most cases for control messages only. )n e,ample of this is shown here. Kou can double.click on the device name to open the 9onfigure 3171 1npu% dialog bo,. =hat you do ne,t will depend on the device. Kou might also use this method to use your *D* keyboard also as a *D* controller Adepending on whether the keyboard supports this featureE. Bnce such a device is installed, you can then assign any action listed as supporting midi CC control to one of the knobs, faders, buttons or rotaries on your control device. The procedure is similar to assigning an action to a key on your PC keyboard. Bpen the Ac%ions Oist from the '()P(' menu. Delect the action, click on Add then instead of pressing a key on the keyboard, tweak the control surface control and click on *H. )n e,ample is shown on the right . in this case we are assigning a rotary control to be used to ad@ust the volume of track %. For further information, including about the various settings, you should consult the documentation supplied with your device, the manufacturer:s web site, or one of the '()P(' forums.

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Up and Running: A REAPER User Guide v 4.59

#A.#B 3e%a Ac%ions
eta actions are special actions that take your custom action macros a step further, for e,ample to be able to repeat the same macro as many times as is reHuired without you having to keep pressing the same shortcut keys. This techniHue can be useful in an e,ample such as if you need to drop a marker at the start of each verse of a song. =hen you create the macro you don:t know how many times you will need to repeat the actions . some songs might have two or three verses, others five or si,. This is a perfect e,ample of when you might wish to use a meta action. '()P(' includes two meta action commands2 )ction2 prompt to continue, and )ction2 prompt to go to action loop start

E4a)p/e
Take a look at the e,ample on the right. *f you create this custom action macro and assign it a keyboard shortcut Asuch as 9%r/ 6$if% HE, then you can use it in this way. Delect any track which is made up of multiple items and position the play cursor at the start of the timeline. Kou 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. Kou will then be asked if you wish to continue Asee illustration belowE.

*f you press En%er or click on 0es, the play cursor will move to the start of the ne,t item, insert a marker there, and ask the Huestion again. *f you click on =o, then the e,ecution of the custom action macro will stop.

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#A - 9us%o)iDa%ion: Ac%ions? 3ouse 3odifiers? 3enus and -oo/bars

#A.#C 3ouse 3odifiers
=e:ve come across the mouse modifiers page of '()P(':s preferences settings several times already. Kou can use this page to change any of '()P(':s default mouse modifier controls and also to add more of your own. Dome pointers to keep in mind2 3odifier (eys. =indows users can use any of the following modifier keys, in any combination, for any mousewheel action2 6$if%, 9%r/, A/%, +in ac users may use any of these modifier keys, in any combination2 6$if%, 9o))and, *p%ion, 9on%ro/ 9on%e4%s. The Conte,ts drop down list on the ouse odifiers page of your preferences window lists the conte,ts in which you could use your mouse and for which you could need modifiers Asee rightE. =hen you select an item from this list, current mouse assignments for that conte,t are displayed. For most conte,ts you will find a number of variations, depending upon the e,act kind of mouse action being undertaken. For e,ample, separate mouse modifiers can be applied to media items depending on whether the mouse action being applied is a simple left click Awhich by default selects the itemE, left click and drag Awhich by default moves the itemE or a double.click Awhich by default opens *D* items in the *D* editor, or displays media item properties for audio itemsE. Dome conte,ts Ae.g. )rrange viewE also make middle button mouse actions available. Kou aren:t going to learn all of these at once, and some of them you may never need. For e,ample, if you never do any work with *D* then the various *D* conte,ts are unlikely to be important to you. Take the time to identify those which you are likely to use the most and think about how you can improve them. The procedure for customi<ing '()P(':s mouse modifiers is as follows2 %. Display the 3ouse 3odifiers page of '()P(':s Preferences =indow. !. Display the Conte,t drop down list and select an entry from that list. ) list of current modifiers for that conte,t is then shown. )n e,ample of this is shown here, for 3edia i%e) edge /ef% drag. 1. *n the odifier column, double click on the item that you wish to change. ) list will be displayed which shows suggested actions that you might wish to assign to that modifier. Kou now have a number of choices2 Delect any item from that list, or Delect ?o )ction to disable that modifier, or Delect the item marked with a bullet to restore '()P(':s default action for that modifier, or For some items only Aincluding double.click itemsE, use Ac%ion .is% > to open the )ction Oist editor so that you can assign one of '()P(':s actions, or one of your own custom actions, to that conte,t. &. Click on App/y to apply your changes. P. 'epeat steps %. to &. as often as needed. =hen finished, click on *H to close the Preferences window. *f you get into trouble, use the the 1)por%&E4por% button then Res%ore )odifiers %o fac%ory defau/%s in %$is con%e4%. This will restore '()P(':s original modifiers to this conte,t. The e,amples that follow have been selected to help you to understand how '()P(':s mouse modifiers work and how you can benefit from using them. Don:t be concerned if not all of the actual e,amples themselves mean a lot to you right now2 try to stay focused on the techniHue. Oet:s suppose that there are certain editing For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) !R%

Up and Running: A REAPER User Guide v 4.59

and other activities that you use a lot in '()P('. Oet:s also suppose that these include the following2 Creating empty *D* items on tracks. Toggling mute status of media items. Dlip editing media items. Detting and removing loop points. )dding F; to media items. That:s AintentionallyE a fairly mi,ed bag of activities. )ll of these are e,amples of activities that can be made easier and3or faster and3or smarter by modifying '()P(':s mouse modifiers.

E4a)p/es
This e,ercise will step you thru the above e,amples in the same order as they are listed. %. Choose the *p%ions, Preferences command, then select the page 3ouse 3odifiers. !. Delect -rac( /ef% drag from the conte,t menu. '()P(':s default mouse assignments for pencil drawing copies of items will be shown. ?otice that A/% and 6$if% A/% are currently unassigned. 1. Double click on the word A/% in the odifier column. ) list of possible suggested actions will be shown. &. *n this list, click on 7ra' an e)p%y 3171 i%e). This action is now assigned. The small dot shown ne,t to this )ction on the list indicates that this is a custom change that you have made yourself. P. Click on App/y to apply the action. R. ?ow select 3edia i%e) edge drag from the conte,t list. Oet:s suppose that we want to make 3ove i%e) edge ignoring snap the new default behavior when clicking and dragging from the media item edge. #. Double click on 7efau/% ac%ion and select 3ove i%e) edge ignoring snap from the menu. ?ow double click on the modifier 6$if% and select 3ove i%e) edge from the menu. 6. Click on App/y. These two items have now been swapped over. Q. ?ow select 3edia i%e) doub/e-c/ic( from the conte,t drop down list. odifiers for this conte,t will now be displayed. Duppose that we want to create an action which can be used to open the item:s F; chain window, and that we wish to assign 6$if% 9%r/ for this. %". Double.click on the te,t 6$if%J9%r/ to display a menu. Click on Ac%ion .is% > to open the )ction Oist (ditor. *f you have worked thru the earlier e,amples in this chapter, this will be familiar+ Find the action 6$o' F8 c$ain for i%e) %a(e and select it. Click on 6e/ec%&9/ose to return to the ouse odifiers window. Click on App/y. This action is now your media Dhift Ctrl double.click action Asee belowE. %%. 'epeat this procedure to apply the action 1%e) proper%ies: -ogg/e i%e)s )u%e to the modifier 6$if%J+in. Click on App/y. %!. Finally, we can add an action to the Ru/er doub/e-c/ic( conte,t so that the 6$if% modifier will remove any current loop points. %1. Delect Ru/er doub/e-c/ic( from the conte,t drop down list. Double click on 6$if% in the modifier column and select Ac%ion .is%... from the menu. Find the action .oop Poin%s: Re)ove /oop poin%s, select it then click on 6e/ec%&9/ose and then App/y. -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 !R!

#A - 9us%o)iDa%ion: Ac%ions? 3ouse 3odifiers? 3enus and -oo/bars

%&. Close the Preferences window. *f you do not wish to keep these assignments, use the 1)por%&E4por% button to restore factory defaults. Re)e)ber2 =hen you are assigning actions to mouse modifier keys you are not limited to using '()P(':s native actions. Provided that you have installed the D=D e,tensions you can use any of the D=D actions. Kou can also use any custom actions that you have created yourself. =o%e2 =hen you select a mouse modifier conte,t, in some cases an option relevant to that specific conte,t will be displayed @ust below the list of behaviors. Oook out for these. For e,ample, for both the Track and edia items conte,ts you can specify whether the item label area Aabove the media itemE should be regarded as part of the media item or as empty space. -ip for *6 8 Users: ?e,t to the *mport3(,port button you will find a 6'ap c)d&op% button. This can be used to swap over all 9)d button and all *p% button assignments for the currently selected mouse modifier conte,t,

#A.#9 6aving and Res%oring 3ouse 3odifier 6e%%ings

ouse modifier settings can be saved to and restored AloadedE from '()P(' mouse map files using the *mport3(,port button. Dettings can be saved3restored for the current conte,t only, or for all conte,ts Asee rightE.

#A.!" 3171 Edi%or 3ouse 3odifiers

-sing mouse modifiers in the *D* (ditor is a topic that merits a section of its own. ?owhere is this more true than when you are editing *D* notes and CC events. ) large number of actions are available for use in the 3171 no%e /ef% c/ic(&drag conte,t Asee rightE. *f you use the *D* (ditor a lot then you should definitely take some time to investigate and to identify which of these actions are most useful to you. For e,ample, you could reassign 6$if% A/% to be used when clicking on any note to erase it. 'emember that all actions in '()P(':s )ction Oist *D* (ditor and *D* (vent Oist (ditor categories Aincluding any custom actions of your ownE are available to be assigned as a mouse double.click modifier in most conte,ts within the *D* (ditor. *D* (ditor mouse modifier conte,ts include2 3171 no%e /ef% c/ic(&drag 3171 no%e doub/e c/ic( 3171 no%e edge /ef% c/ic(&drag 3171 no%e doub/e c/ic( 3171 99 even% /ef% c/ic(&drag 3171 99 /ane /ef% drag 3171 99 even% doub/e-c/ic( 3171 99 /ane doub/e-c/ic( 3171 ru/er /ef% c/ic( 3171 ru/er /ef% drag 3171 ru/er doub/e-c/ic( 3171 piano ro// /ef% c/ic(&drag, 3171 piano ro// doub/e-c/ic(, and 3171 edi%or rig$% drag.

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Up and Running: A REAPER User Guide v 4.59

#A.!# 9us%o)iDing %$e REAPER 3enus
Kou can customi<e '()P(':s main menu and many conte,t menus in a number of ways, including2 'emoving from view commands that you never use. Changing the order in which commands are listed. )dding your own custom actions to an e,isting menu.

To open and display the 9us%o) 3enu interface, choose from the main menu the command *p%ions? 9us%o)iDe 3enus&-oo/bars. This causes the Customi<e menus3toolbar window to be displayed. >y default, it will open with the ain File menu displayed. The table below summari<es the main tasks that can be carried out within this window. The ] sign displayed before any letter indicates that when the menu is displayed, that letter can be typed to select that command. Bn the menu itself, the letter will appear underscored. Thus, in the e,ample shown above, when you display '()P(':s main file menu, the letter = in =e' pro:ec%... will appear underscored, and you can therefore type = to select this command. 1n order %o do %$is ... 6e/ec% a )enu for cus%o)iDa%ion 9$ange %$e na)e of a curren%/y se/ec%ed )ain )enu co))and Re)ove a co))and fro) %$e curren%/y se/ec%ed cus%o) )enu > you need %o do %$is. Display the drop down list Atop left of windowE and select the reHuired menu. Delect the command. Click on the Re%i%/e... button. Type the new name and press En%er Delect the command in the left hand column Aclick onceE. 'ight.click and choose Re)ove from the menu, or click on the Re)ove button located below the customi<ed menu pane. (ither > in the left column, drag and drop the command up or down to its reHuired position. Br J in the left column select the command that you wish to move. Press 9%r/ 8. Click at the position where you wish the command to be placed. Press 9%r/ V.

9$ange %$e posi%ion of a co))and on %$e cus%o) )enu

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#A - 9us%o)iDa%ion: Ac%ions? 3ouse 3odifiers? 3enus and -oo/bars

1n order %o do %$is ... 9opy a co))and fro) one )ain /eve/ )enu %o ano%$er > you need %o do %$is. Delect the first main menu from the menus drop down list. Delect the reHuired command and press 9%r/ 9. Delect the second main menu from the menus drop down list. Click at the reHuired position in the customi<ed window AleftE pane and press 9%r/ V. Add a REAPER ac%ion or a cus%o) ac%ion %o %$e curren% cus%o) )enu as a ne' co))and *n the left column, click to select the e,isting command above which you wish to insert your custom action. Click on the Add button, then choose Ac%ion from the menu. Delect your item from the list then click on the 6e/ec% button. *n the left column, select the command, click on Rena)e, then type the new name and press En%er. *n the left column, click to select the e,isting command above which you wish to insert the separator. Click on the Add button, then choose 6epara%or from the menu. *n the left column, click to select the e,isting command above which you wish to insert the label. Click on the Add button, then choose .abe/ from the menu. *n the left column, click at the position you want the submenu inserted. Click the Add button, then on 6ub)enu. Type a name then press En%er. Click on the 6ave button. Click the Rese% button, then choose either Rese% 9urren% 3enu or Rese% A// 3enus. Click on E4por%... , choose E4por% A// or E4por% 9urren%, then type a name and click on 6ave. Click on 1)por%... then select the reHuired menu set file, then click on *pen. Kou can also drag and drop .'eaper enu and .'eaper enuDet files into '()P(' from =indows (,plorer. Tick the 1nc/ude defau/% )enu as sub)enu option Atop right of windowE. This is recommended especially if you are removing any default commands from the menu.

Rena)e a co))and on %$e cus%o) )enu Add a separa%or %o %$e curren% cus%o) )enu Add a /abe/ %o %$e curren% cus%o) )enu Add a sub)enu %o %$e curren% cus%o) )enu 6ave c$anges )ade %o %$e curren% cus%o) )enu Res%ore %$e one or a// cus%o) )enus %o %$e defau/% se%%ings E4por% %$e curren% cus%o) )enu or a// )enus as a Reaper3enu6e% Rep/ace %$e curren% cus%o) )enu or a// )enus 'i%$ a previous/y saved Reaper 3enu 6e% 1nc/ude REAPER<s defau/% )enus 'i%$ your cus%o) )enus

E4a)p/e
*n this e,ample you will learn how to add an action to a '()P(' menu as a new command, and how to remove an unwanted command. Kou:ll also change the order of some commands. )s with many other e,ercises in this -ser /uide your main focus should not be on the e,ample itself but more on the techniHue. Duppose that you do a lot of work with markers, and that you would like to renumber markers in timeline order Huickly and easily without having to remember a keyboard shortcut. Kou could add the action to the 'uler conte,t menu. =hile you:re about it, you can also remove the command 1nser% e)p%y space in se/ec%ion Aassuming for the sake of the e,ample that you think you do not need this commandE. Follow these instructions.

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Up and Running: A REAPER User Guide v 4.59

E4a)p/e
%. !. 1. &. P. From '()P(':s *p%ions menu, open the 9us%o)iDe )enus&%oo/bars window. Display the drop down menu list and choose Ru/er&arrange con%e4%. Click on any one of the commands in this menu G for e,ample 6e% se/ec%ion %o i%e)s. Click on the Add... button, then choose Ac%ion... This causes the )ctions Oist (ditor window to be opened. *n the filter bo, type2 )ar( renu) G this should find the action 3ar(ers: Renu)ber a// )ar(ers in %i)e/ine order. Delect this action then click on 6e/ec%&c/ose. The )ctions window will close and you will be returned to the Customi<e menus3toolbars window. This action has now been added to the menu and is selected Asee rightE. =ith the item still selected, click on Rena)e... Kou will be prompted for a new name. Type2 Renu)ber )ar(ers and press En%er. To move this up the menu, drag and drop it above Qoo) se/ec%ion.

R.

#. 6. Q.

%". ?ow select the item Alower down the listE 1nser% e)p%y space in se/ec%ion. Click on Re)ove to remove this from the menu. %%. ake sure you have enabled the option 1nc/ude defau/% )enu as sub)enu.

%!. Click on 6ave then 9/ose. %1. Create some markers in this pro@ect, out of timeline order. %&. ?ow right.click over the ruler3timeline Asee rightE. Choose Renu)ber )ar(ers from the menu2 your markers will be renumbered. %P. ?otice at the bottom of this conte,t menu the item 7efau/% )enu: Ru/er&arrange con%e4%. This can be used to access the original conte,t menu. %R. *f you wish to restore this menu to its original state, open the 9us%o)iDe )enus&%oo/bars window again and with the Ru/er&arrange con%e4% still selected, click on Rese% then Rese% curren% )enu&%oo/bar %o defau/%. Click on 6ave then 9/ose.

#A.!! 9us%o)iDing %$e REAPER -oo/bars

Customi<ing '()P(':s main toolbars Aincluding the *D* (ditor toolbarsE can make it easier to make '()P(' work for you to work the way that you would like it to. For e,ample, you can2 'emove any of the default icons3commands that you do not wish to be shown. )ssign a different '()P(' command or action to any e,isting icon. )ssign a different '()P(' command or action to a new icon. )ssign a custom action or macro of your own to a new or e,isting icon.

The procedure is similar to that used for menu customi<ation. ake your changes to the e,isting default toolbar layout thru the 9us%o)iDe )enus&%oo/bars dialog bo,. This can be displayed by right.clicking over the empty area of the toolbar background, or by choosing 9us%o)iDe )enus&%oo/bars from the *p%ions menu. =hen the Customi<e menus3toolbars window is displayed, choose 3ain -oo/bar or one of the 3171 Vie' toolbars from the drop down list in the top left corner. =e:ll get to F/oa%ing %oo/bars a little later in this chapter. -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 !RR

#A - 9us%o)iDa%ion: Ac%ions? 3ouse 3odifiers? 3enus and -oo/bars

The table below summari<es the main tasks that can be carried out within this window. )fter the table there is an e,ample in which you can add to the toolbar an item of your own. Purely as an e,ample, we:ll use the action Vie': -ogg/e )as%er %rac( visib/e for this.

1n order %o do %$is ... Re)ove an i%e) fro) %$e %oo/bar

> you need %o do %$is. Click on either the item name in the left panel, or on the icon itself in the display @ust above the window:s command buttons. *n the e,ample shown, (nable etronome has been selected. Click on the Re)ove button. *n the customi<e toolbar area Aleft panelE 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 6e/ec%&9/ose. '()P(' will add this to your toolbar and assign an icon.

Add a ne' ac%ion or co))and %o %$e %oo/bar

-o add a separa%or space be%'een %'o %oo/bar i%e)s -o c$ange %$e icon used for any %oo/bar i%e) Einc/uding an i%e) %$a% you $ave addedF

*n the customi<ed toolbar area, right.click over the second of these items and choose Add separa%or from the menu. 'ight click over the icon in the icon display near the bottom of the Customi<e enus3Toolbars window, @ust above the command buttons. This causes the 6e/ec% %oo/bar icon window to be displayed. Delect your reHuired icon then close the Delect toolbar icon window. *n the customi<e toolbar area Aleft panelE select the item that you wish to change. 'ight click, choose 9$ange ac%ion, then select from the action list and click on 6e/ec%&9/ose. 'ight click over the item in the customi<ed toolbar list in the left panel. Choose -e4% 1con from the menu, type the te,t then click *H. -se the mouse to drag and drop up or down the list shown in the customi<ed toolbar list. Ctrl ; 3 Ctrl S may also be used, as can Cut and Paste from the right click conte,t menu.

9$ange %$e ac%ion assigned %o a %oo/bar bu%%on Rep/ace a %oo/bar icon 'i%$ %e4%

9$ange %$e posi%ion of an i%e) on %$e %oo/bar

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Up and Running: A REAPER User Guide v 4.59

1n order %o do %$is ... 9/ose %$e 9us%o)iDe 3enus&-oo/bar +indo' 'i%$ou% saving your c$anges 6ave %$e %oo/bar 'i%$ your c$anges Res%ore %$e %oo/bar %o i%s defau/% s%a%us > you need %o do %$is. Click on the 9/ose button. Choose =o when asked if you wish to save your changes. Click on the 6ave button. Click the Rese% button. Choose Rese% 9urren% 3enu& -oo/bars %o 7efau/%s from the menu. Delect 0es to confirm: E4por% %$e curren% cus%o) %oo/bar or a// %oo/bars&)enus as a Reaper3enu6e% Rep/ace %$e curren% cus%o) %oo/bar or a// %oo/bars&)enus 'i%$ a previous/y saved Reaper 3enu 6e% Click on E4por%... , choose E4por% A// or E4por% 9urren%, then type a name and click on 6ave Asee also note belowE. Click on 1)por%... then select the reHuired menu set file, then click on *pen.Asee also note belowE

=o%e2 'eaper enuDets can also be included when e,porting3importing '()P(' configuration preferences and settings G see Chapter %Q.

E4a)p/e
The real benefit of this e,ercise will come from it teaching you a techniHue, not from the actual e,ample. %. 'ight.click over the toolbar area Abut not any specific toolE and choose cus%o)iDe %oo/bars... from the conte,t menu. !. Click on the last item on the toolbar A(nable lockingE then click on Add... to open the )ctions Oist. 1. Find the action Vie': -ogg/e )as%er %rac( visib/e. Delect this, then click on 6e/ec%&c/ose. This item will now be added to the list of toolbar items. *n the icon display, it will be labelled something like 7Tog ast8. &. Drag this item up or down the list to whatever position you want it to take. P. *f you do not like the te,t -og 3as% you can right.click over the item in the list and choose either 9$ange icon Ato select an iconE or -e4% icon Ato type a different te,t labelE. *f you choose %e4% icon, you may also select a 7oub/e 'id%$ %oo/bar bu%%on option for better te,t display. R. Click 6ave and then 9/ose. *f you don:t want to keep this icon, access the customi<e menus3toolbars window again and simply remove it. -ip: The command Posi%ion %oo/bar can be used to change the position of or float the main toolbar2 see section immediately below this one.

-nlock your inner '()P(' with REAPER 4 Un/eas$ed2 !R6

#A - 9us%o)iDa%ion: Ac%ions? 3ouse 3odifiers? 3enus and -oo/bars

#A.!A 9rea%ing Addi%iona/ 9us%o) -oo/bars
'()P(' can display up to eight general, four *D* only and one *D* piano roll only additional toolbars that you can customi<e to suit your particular reHuirements. >y selecting which items are added to these toolbars you are able create one click access to your most important commands and actions. To toggle the display of any floating toolbar, right.click over the empty area of your main toolbar and choose the *pen %oo/bar co))and, then select a toolbar. Kou may display as few or as many of these toolbars as you wish. >y default, each toolbar contains one icon, labelled 7(dit e8. To change this, you will need to customi<e the toolbar Asee belowE. (ach toolbar window can be dragged, resi<ed and positioned anywhere on your screen. *t can also be kept on top Ausing the pin symbolE. 'ight click over the empty area of any custom toolbar to again display the menu shown ArightE. This offers the following main options2 6'i%c$ %oo/bar2 selects another toolbar to display in its place. *pen %oo/bar2 use this to open another toolbar. Posi%ion %oo/bar2 used to dock the toolbar at the main toolbar, at the top of the main window, in the toolbar docker, or to float. 9us%o)iDe %oo/bars2 use this to open the 9us%o)iDe )enus&%oo/bars window to enable you to customi<e the contents of any of the toolbars. >y default, the currently displayed toolbar will be selected for editing. Kou can add commands to each or any of these toolbars as you wish. To select a different toolbar for editing after opening the 9us%o)iDe )enus&%oo/bars window, display the drop down list from the top left corner of the Customi<e menus3toolbars window. The following table summari<es the main editing options. 1n order %o do %$is ... 9$ange %$e na)e of any %abbed %oo/bar Add an ac%ion or co))and %o a cus%o) %oo/bar -o edi% a cus%o) %oo/bar bu%%on /abe/ -o assign an icon ins%ead of %e4% %o a cus%o) %oo/bar bu%%on -o re)ove an i%e) fro) a cus%o) %oo/bar -o c$ange %$e order of icons on a cus%o) %oo/bar -o save a cus%o) %oo/bar se% -o e4por% a cus%o) %oo/bar se% -o i)por% a %oo/bar se% -o doc(&undoc( %$e f/oa%ing %oo/bar > you need %o do %$is. Delect toolbar in the Customi<e enus3Toolbars window, click on Re%i%/e... then type the new name then click on *H. Click on Add... to display the )ctions Oist. Delect the command or action and click on 6e/ec%. 'ight click over the item in the customi<ed toolbar panel AleftE and choose -e4% 1con... Type the te,t then click *H. 'ight click over the item in the customi<ed toolbar panel AleftE and choose 9$ange 1con... Delect the reHuired icon from those displayed, then close the 6e/ec% -oo/bar 1con window. Delect the item in the Customi<ed Toolbar AleftE panel and click on Re)ove. Drag and drop items up or down the list displayed in the customi<ed toolbar AleftE panel. Click on the 6ave button in the Customi<e enus3Toolbars window.

-se the E4por%... button and choose E4por% curren% )enu&%oo/bar %o > Type a name and click on 6ave. -se the 1)por%... button, select the file name, click on *pen. 'ight click on floating toolbar, choose 7oc( f/oa%ing %oo/bar then select one of the three options.

For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) !RQ

Up and Running: A REAPER User Guide v 4.59

Dhown here is an e,ample of custom toolbars, used to give easy access to various track and windows screen sets. Oet:s see how this was done.

E4a)p/e
%. =ith the 9us%o)iDe )enus&%oo/bars window open select F/oa%ing %oo/bar #. !. Click on Re%i%/e... and type 6creen 6e%s. Press En%er. 1. -se the Add... button to open the )ctions Oist window. Delect 6creense%: .oad 'indo' se% Z"4, then click on 6e/ec%. &. =ith the )ctions Oist window still open, select the action 6creense%: .oad 'indo' se% Z"A and again click on 6e/ec%. P. 'epeat step & several times to select the other actions reHuired for this toolbar.. R. Delect the action 6creense%: .oad %rac( vie' Z"# then click on 6e/ec%&c/ose. #. *f necessary, drag and drop any of these items up or down the list to put them in your preferred order. 6. *f necessary, remove any unwanted items on this toolbar. Q. 'ight.click over each item in turn and choose the -e4% icon command. (nter a label, such as -rac( 6e% # and enable the option 7oub/e 'id%$ %oo/bar bu%%on. %". 6ave and 9/ose the 9us%o)iDe )enus&%oo/bars 'indo' when finished. This e,ercise has shown you how to create a custom toolbar. Bnly you can decide, however, when you should create them. -se them for those activities that you use the most. For e,ample, if you find yourself getting frustrated when navigating and <ooming, then make a <oom3navigate toolbar. *f you spend a lot of time editing media items, make an item edit toolbar. *n Chapter %R you:ll find a custom toolbar for working with envelopes.

#A.!4 9rea%ing 6)ar% -oo/s

*f you have used other D)= software Asuch as Cubase, Pro Tools or DonarE 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. Kou have already seen that this method of working is not native to '()P('. Mowever, 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 Oist includes a number of actions suitable for this sort of treatment. These include actions like 1%e): 6p/i% 1%e) Under 3ouse 9ursor. *n addition, you may also have created some custom actions of your own, for e,ample to select and mute or delete items. =ithout arming, any tool which makes reference to the mouse cursor, for e,ample, would otherwise be useless G because the mouse cursor will be over the toolbar, not any media item, when the tool is clicked+ >y using smart tools we solve this problem. To create a Dmart Tool for any action or custom action, you first need to assign the action or custom to the toolbar, as e,plained in the section before this one. *n this e,ample, we have created a button to 6p/i% 1%e) Under 3ouse 9ursor. Then, to use it as a smart tool, simply do this2 %. 'ight click over the tool. *f you hover the mouse there long enough, a tool tip will be displayed. ove the mouse over any media item and it will change to a letter A. !. Oeft click on Ain this e,ampleE the item to which you want the action applied, at the e,act position that you want the action to occur. *n this case, the item beneath the mouse cursor will be split. Bnce a tool is armed it will remain armed until you 7unarm8 it. To do this, either right click on the armed tool. or press (sc immediately after using it. -ip: ) floating toolbar can be si<ed Amade larger or smallerE by dragging its lower right hand corner in or out G look for the small dotted triangular area. *f you want to restrict @ust how large the icons may become when you do this, enable the option Don:t scale toolbar buttons above %2% on the )ppearance page of your preferences window. There is also an option Don:t scale toolbar buttons below %2%.

-nlock your inner '()P(' with REAPER 4 Un/eas$ed2 !#"

#4 - REAPER P/ug-ins in Ac%ion #4 REAPER P/ug-ins in Ac%ion

#4.# +$a% Are P/ug-insX

ThereIs a wonderful assortment of plug.ins supplied with '()P(' . over !"" of them+ These include the $esusonic and the SDT 'ea plug.ins from Cockos. *n this section we will be introducing you to a selection of these. =e will only be covering the very basics, @ust to give you a feel for what plug.ins are and how they work. >eyond this, you can e,plore for yourself. Plug.ins are pieces of software that are used to control and shape the sound generated when you play back the media items in your tracks. Dome simple e,amples of when and why you might want to use a plug.in are2 To make a vocal recording sound nicer, more lifelike. Perhaps your dry recording sounds a bit thin, even verging on feeble in places. Plug.ins can add body, warmth and sparkle to such a track, not by working magic, but by finding where those Hualities 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 7live8 feel to a track or even a whole mi,, making it sound more as if it were recorded in a church or a concert hall, rather than in a boring old studio.

#4.!

-$e -$ree .a's of P/ug-ins

>efore you start using plug.ins, study and memorise this mantra. There are no e,ceptions to these laws+ %. *t is better not to use a plug.in at all than to use it badly. ) badly used plug.in is likely to make your mi, sound worse, not better. *f in doubt, underdo the use of plug.ins, donIt overdo them. !. ?ever @udge the Huality of a plug.in by how much you like its presets. Presets reflect someone elseIs idea of how something ought to sound, not the Huality of the plug.in, nor its potential. Kou will almost certainly never learn how to get the best out of any plug.ins, be they (F, compression, reverb or anything else unless you take the trouble to understand their various parameters. )nd that takes time. 1. Kou canIt @udge the Huality of a plug.in by its cost. ?o, really you canIt. Dome plug.ins are free. Dome cost literally thousands of dollars. Dome free ones are pretty awful, some are great. Dome plug.ins costing hundreds of dollars are, to be polite, very, very ordinary. Bthers are e,cellent.

#4.A

-$e Five -ypes of P/ug-in

(specially when you are new to digital audio, when you start to e,plore the world of plug.ins you might find yourself feeling overwhelmed, if not utterly confused. =hy4 >ecause there is so much choice. Meaven help me, have * really got to understand all that lot to be able to use this recording caper4 ?o, you donIt. Oearn in steps as you go. *n essence there are essentially five types of plug.in Awell, thereIs a ma@or e,ception to that, which *Ill get to shortlyE. These five types are2 6ound 6$aping2 these plug.ins affect the freHuency ApitchE of your trackAsE. )n e,ample is (F. -i)e-5ased Effec%s2 these plug.ins manipulate how your trackAsE interact with time. (,amples include Delay, Chorus and 'everb. Vo/u)e 9$anging2 these are plug.ins that determine the overall volume or perceived volume of your trackAsE. (,amples are Compressors and Oimiters. Rou%ing P/ug-ins2 these do not shape the sound of your tracks as such, but are used for tasks such as routing. 'outing is generally beyond the scope of this chapter2 we:ll get to it in Chapter %P. Ana/y%ica/ P/ug-ins2 these display information, but don:t in any way alter the sound of the track. )nd that e,ception4 =ell, some plug.ins can cut across more than one of these categories at the same time, performing more than one @ob. Bne e,ample of this is a ultiband Compressor, which displays the characteristics of both an (F and a Compressor. *t would be way beyond the scope of this -ser /uide to teach you the science between these various plug.ins G that would reHuire an entire volume in itself+ Bur ob@ective is to give you an introduction to what '()P(' offers in this area, and to show you how '()P(':s own interface is used to control them.

For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) !#%

Up and Running: A REAPER User Guide v 4.59

#4.4 Ad:us%ing P/ug-in Para)e%er 9on%ro/s

Plug.in faders can be ad@usted using any of four main methods. These are2 Mover your mouse over the fader and scroll the mousewheel. -se 9%r/ for finer ad@ustments. Click on a fader and drag the mouse. Mold the 9%r/ key for finer ad@ustments. Mold A/% for 7elastic8 auditioning2 the control will return to its original position when the mouse is released. Click on the fader then use the Up and 7o'n arrow keys. Click in the parameter value window Ain the first e,ample show below, you can see one of these to the immediate right of each of the three hori<ontal fadersE and type a value. *f you prefer not to use the first of these methods Afor fear of making accidental ad@ustmentsE, you can enable on the (diting >ehavior, ouse page of your Preferences the option 1gnore )ouse'$ee/ on a// faders.

#4.5

6ound 6$aping Effec%s: ReaEP

any sound shaping plug.ins fall Ain one way or anotherE into the (F category. (F means 7eHualisation.8 This is rather strange, since they are used to emphasise Aor de.emphasiseE selected freHuencies. Perhaps they should be called 7-n(F8+ 'ea(F is the main (F plug.in supplied with 'eaper. There are also several $D (F plug.ins but 'ea(F is the most powerful and fle,ible. Oet:s take an e,ample. %. Bpen the supplied pro@ect file A// -$roug$ -$e =ig$%.RPP and save it as A// -$roug$ -$e =ig$% EP.RPP !. This e,ample uses only the vocal track, which is an e,cellent tool for demonstrating (F. 6o/o the Vo4 track. 1. Display the F8 'indo', click on Add and add 9oc(os V6-: ReaEP. ?otice that by default this has & band tabs Anumbered % to &E. &. Play the song. )s you do so, select 5and 4 and fade the Gain left to about G 1P d>. ?otice how deep the voice becomes. Double click on the fader to return it to the centre. P. Delect 5and !. Fade the /ain down to about G %& d>. ?otice how tinny and even disembodied the voice sounds. Double.click to return to normal. ?ow lift the /ain to about W1 d>. The voice should sound Huite pleasantly fuller and warmer. Delect >and 1 and set the FreHuency to about &!"". Bbserve what happens as the gain is ad@usted between W1.P and .1.P. =hen finished, return it to ".". Dave the file. =hat has been happening is that you have been ad@usting freHuencies This is a huge sub@ect. *t is way beyond the scope of this guide to teach everything there is to know about (F, but here is a brief introduction. (,actly how you divide up the freHuency spectrum is to some e,tent arbitrary. MereIs one way that makes sense2 FreIuencies #@ %o @" ,D @" %o !5" ,D !5" %o !""" ,D 9o))en%s Very .o' 5ass. These freHuencies are felt rather than heard. 5ass. Merein 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. -$e 3id Range. Too much gain here makes it sound like youIve recorded from the other end of a telephone. *f a take sounds muddy, try cutting it here. -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 !#!

#4 - REAPER P/ug-ins in Ac%ion

FreIuencies !""" %o 4""" ,D 4""" %o @""" ,D 9o))en%s Upper 3id Range. Bften a tricky area. Too much can cause listening fatigue. Oower this range a tad on the mi, while boosting a tad on vocals can help a vocal stand out. Presence Range. This is the key range for clarity and presence of instruments and vocals. Dome gain here will bring the instrument or voice forward in the mi,. ) drop here can pull a vocal or an instrument back. ,ig$ Range. This is where you find clarity and sparkle. Too much gain here produces a searing, glassy effect. ?ot enough will sound dull ands 7heavy8.

@""" %o #@""" ,D

Do ... we know that the freHuency is measured is measured in M< Aand kM<E, and that we can increase or decrease the volume at any level, to shape the sound. The sound level itself is measured in decibels. =e need to understand two more terms G first, band width. 'ea(F measures bandwidth in octaves. ) narrow bandwidth setting means that you will raise or lower the sound over a very small part of the spectrum relative to your selected freHuency. ) wide setting means that you will be working on a much wider part of the spectrum. )n e,ample of the difference in how a narrow bandwidth AtopE and a wide bandwidth AbottomE can shape a sound is shown here. Kou will also see, if you display the drop down list labelled -ype that there are several type of band. Dome of the most commonly used are2 5and: the volume is raised or lowered either side of the freHuency, the range being determined by the bandwidth setting. Dometimes called a 7peaking filter.8 .o'&,ig$ Pass2 Filters out freHuencies above3below the freHuency setting. .o'&,ig$ 6$e/f2 Causes the gain to be lowered or raised below3above the freHuency setting. Pass and 6$e/f will in most cases only be used Aif at allE at very low freHuencies or very high freHuencies. Kou can add or remove bands using the )dd band and 'emove band buttons. -ip: DonIt forget that you can create track parameter controls and3or automation envelopes for this or any other plug.in by clicking on the Para) button in the plug.in window G as e,plained in Chapter %".

#4.@

-i)e 5ased Effec%s: 7e/ay

These include reverb, delay and chorus. Dound takes time to travel thru any distance, and surfaces like walls and ceilings create reflections which make the sound patterns even more comple,, intricate G and alive. Time based F; use a number of tricks and techniHues to artificially simulate this, thereby creating a more 7live8 sound. >ut be careful. Too much here can ruin an otherwise good sound. Para)e%er 7e/ay E)sF Feedbac( 3i4 in Ed5F 7escrip%ion Determines the amount of time that passes between the original sound and when the delayed sound is heard. Determines the amount of the delayed signal that will be fed back into the delay itself. This helps to prevent the delay from @ust being an echo. Determines the overall output level. For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) !#1

Up and Running: A REAPER User Guide v 4.59

Para)e%er *u%pu% 'e% Ed5 *u%pu% dry Ed5F 7escrip%ion Determines the Butput level of the Post F; signal. Oowering this relative to the dry output will make the effect more subtle. Determines the Butput level of the Pre F; signal

*n this e,ample, we will use the 6: 7e/ay&7e/ay to add a touch of delay to the >ou<ouki. E4a)p/e %. -nsolo your So, track and solo the track >ou<ouki. Bpen its F; =indow and add the $D2Delay3delay. !. Play the song. (,periment with ad@usting the F; parameters until you have found an effect to your liking. For very small delay settings, such as ".! ms, it is easier to type them in the bo, than to use the faders. 1. -nsolo the track, then continue to make any further ad@ustments until you are satisfied with the results. &. Dave the file. =o%e2 The plug.in Rea7e/ay is a more powerful alternative to $D Delay. *n particular, it allows you to create multiple delay taps, each with its own delay settings, and to pan each of these individually.

#4.B

Vo/u)e 9$anging P/ug-ins: %$e .i)i%er

*n this ne,t e,ample, we will look at an e,ample of one volume changing effect, the $D2OBD('2masterOimiter. This can be added to the F; =indow for your )DT(' to perform two functions. These may at first appear to be contradictory, but they are not2 To raise the overall volume of the mi,, but at the same time J To prevent the mi, from 7clipping8, i.e. getting too loud at any point. =e will be using the 6:.oser&)as%er.i)i%er which includes the following controls and parameters2 Para)e%er -$res$o/d 7escrip%ion Determines the level at which the other limiter settings will be applied. *t may seem parado,ical, but the lower the threshold, the higher will be the perceived overall volume. )s you lower the threshold, more of the song is lifted to the limit specified. Determines how far ahead the limiter looks G this helps smooth out sudden peaks. Determines how Huickly the limiter kicks in as the signal increases. Determines how Huickly the limiter recovers after a peak is encountered. This determines the ma,imum volume that cannot be e,ceeded.

.oo( A$ead A%%ac( Re/ease .i)i%

E4a)p/e
Display the F; =indow for your )DT(' and insert the 6: .*6ER &)as%er.i)i%er. !. Play the song, ad@usting the controls. 1. )s you lower the Threshold, the volume will get louder, but the ma,imum AlimitE volume is never e,ceeded. &. )s you lower the Oimit, the song gets Huieter. P. The more you lower both Threshold and Oimit, the more you sHuee<e the dynamics out of the song G volume remains almost constant, and there is little or no movement in the S-. The trick to using a limiter well is to smooth out peaks and dips somewhat, but without adversely affecting the dynamics of the song. )nd, especially at first, be gentle+ -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 !#& %.

#4 - REAPER P/ug-ins in Ac%ion

#4.C Ana/y%ica/ P/ug-ins: %$e GF8Ana/yDer

Dhown on the right is a 6: Ana/ysis GF8Ana/yDer plug.in. *nsert this into any track:s F; chain Aor the master:s F; chain and as the pro@ect is played you are given visual feedback as to the level of output at different freHuencies. This can sometimes help, for e,ample, in identifying which freHuencies might need attention. Three of the Cockos plug.ins G 'ea(F, 'eaFir and 'ea;Comp . all include an analytical display similar to that shown here as part of their standard interface. ?ow that you:ve had a look some e,amples of different types of plug.in. =e can go on and e,amine some more. First, though, another word or two about presets ...

#4.9

Using F8 Prese%s

=hen you are satisfied with your settings for any plug.in, you might wish to save them as a preset, so that you can apply them ne,t time you want to use it on another track2 %. Click on the J button @ust above the $D Delay3delay plug. in when this plug.in is selected. !. Choose 6ave prese% from the menu. 1. Type a name and click on *H. To save these as default parameter settings for the plug.in when it is used in the future, use the 6ave prese% as defau/%... command from the same menu. To import an e,isting preset library Asuch as you might be able to download from the '()P(' web siteE you would choose 1)por% prese% /ibrary>. To e,port your presets to a file Afor backup purposes, or to use on another computerE you would choose E4por% prese% /ibrary ... -o c$oose an e4is%ing prese% Afrom those you have previously saved or imported, or which were supplied with the plug.inE, simply insert the plug.in into that trackIs F; window, display the drop down list of presets Asee leftE, then select the one that you want. =ithin the F; >rowser, the *p%ions? 6$o' defau/% F8 prese%s can be used to list any default preset in the browser window alongside the plug.in name. Kou can then double.click on the preset name to select a different default preset for that plug.in if you wish Asee rightE.

For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) !#P

Up and Running: A REAPER User Guide v 4.59

#4.#" -i)e 5ased Effec%s: ReaVerb
'eaSerb is a SDT plug.in that is supplied with '()P('. 'everb itself is a time.based effect, and 'eaSerb 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 'eaSerb. )fter that, it has more features that you can e,plore for yourself. ost reverbs are an artificial attempt to recreate the effect that the acoustic environment of, say, a hall or a room would have on sound. Mowever, the mathematical process reHuired for this is highly comple,, so that very few come close to sounding like real acoustic rooms. The characteristics of reverb plug.ins vary enormously, not only in their essential Huality but also in the scope of their applications. =ith convolution reverb, we are able to get realistic reverb without breaking the bank. *t uses impulse responses of real acoustic spaces. This is made possible by generating a signal in the reHuired environment and then recording the result. 'eaSerb even takes this concept a step further, allowing you to not only use recorded impulses from real environments to create your reverb, but also to use something closer to more traditional reverb methods to then modify that sound further, should you wish to do so. To be able to use convolution reverb, you will need a collection of impulse wave files. Dearch the net and youIll find all you want, many free. This e,ample uses files downloaded from http233www.vo,engo.com3impulses3 . *n the e,ample that follows, these files have been downloaded and stored in a folder that we have created and named 9:GProgra) Fi/esGREAPERGReverb 1)pu/sesGVo4engoG

E4a)p/e
%. !. 1. &. P. R. #. Bpen the file A// -$roug$ -$e =ig$%.RPP and save it as A// -$roug$ -$e =ig$% REVER5.RPP )dd a new track after the last track, and name it Reverb 5us Create 'eceives into this track from all of the instrument tracks and the So, track. This will later enable you to feed different levels of signal, panned as reHuired, from different tracks into your 'everb >us. Display the F8 +indo' for the Reverb 5us. )dd ReaVerb into this F; =indow. Fade the +e% level down to around GR" and the 7ry level down to about O".5? as shown above. =e will start by adding @ust a little reverb, then increase it as reHuired. Click on the Add button and then on Fi/e. This lets you add a file at the start of your 'everb chain. ?avigate the file browser window to where your impulse files are stored and select one. *n this e,ample, we will be using 6% =ico/aes 9$urc$.'av Click on *pen to insert that file into 'eaSerb. P/ay the file. *n the Track =indow, lower the Solume fader for the 'everb >us to about G%"d>. Oower the fader on the aster to about G Rd>. Kou can bring this up again later if you wish.

6. Q.

-nlock your inner '()P(' with REAPER 4 Un/eas$ed2 !#R

#4 - REAPER P/ug-ins in Ac%ion

%". *n the 'eaSerb window, now raise the wet signal until you hear a pleasing amount of reverb. This will probably be at about G%" d>. *f you like, Dolo the 'everb track for a while, so that you can discern the effect more clearly. %%. =e can now use the 'eaSerb controls to ad@ust the 'everb effect. The Pre.reverb fader offsets the reverb tail by delaying the signal that is sent to the reverb tail generator. Try it for yourself. %!. To add more controls to the 'everb chain, click on Add and choose -i)e&Gain&6%re%c$. Kour window suddenly has all these e,tra controls. These are used to stretch the impulse Amake it longerE, add in some graininess, or trim the impulse Amake it shorterE. The best way to find out is to e,periment for yourself. %1. ?ow click on Add again and add a Fi/%er E.P&,PF. This causes a Migh Pass Filter and a Oow Pass Filter to be added. This can be used to stop the reverb impulse from being added to very low and3or very high freHuencies. %&. =hen you have your sound right, you can save that set of parameters as a named preset that can by recalled for other pro@ects. Click on the W button, choose 6ave prese%, name the preset and click *H. ?otice that when you are e,perimenting with 'eaSerb you can2 Drag and drop to change the order in which modules are positioned in the reverb chain. -ntick the bo, to the left of any moduleIs name to bypass that module. ReaVerb Fea%ures 6u))ary Ec$o genera%or . generates an echo . useful for 9filling in the gaps9 of an impulse or creating echo.decay. ,ig$ and /o' pass fi/%er . force the impulse not to work above or below a certain point. =or)a/iDe . raise the gain of the impulse to "d>FD. Reverse G reverses the 'everb G a nifty effect for vocals, guitar solos and song intros3outros. -ri)&Gain&6%re%c$ G trim or stretch the impulse Amake it shorter or longerE, add in some graininess. Fi/e . use this to insert an impulse file. Kou can insert as many files as you want+ 3a4 FF- G FFT filters are a comple, mathematical topic. /oogle to learn more details+ eanwhile, for the rest of us, changing the FFT si<e changes CP- usage. ) lower FFT setting means a higher CP- usage, but spread more evenly. Migher FFT si<es will consume less CP- but result in more latency. FFT si<e will therefore affect performance and possible dropouts, but it should not affect the sound itself. if you don:t understands it, you:re probably best off accepting the default setting. Q. G option to enable <ero latency2 useful when tracking while monitoring reverb levels. .. G option to use an e,tra thread to improve low latency performance. 6e% a// .apply these performance settings to all instances of 'eaSerb in the current pro@ect. For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) !##

Up and Running: A REAPER User Guide v 4.59

#4.## Vo/u)e 9on%ro/ 'i%$ 9o)pression: Rea9o)p
(arlier in this chapter, we encountered a .i)i%er. Kou can think of a limiter as being like imposing a ceiling G it stops the volume of a signal from going above whatever level you set. >ecause limiting can be harsh, it is often better to use a compressor on individual tracks. Think of it this way G a simple limiter cuts in suddenly and severely, whereas a compressor can be eased in much more gently. *t might help to get a visual picture of what limiting can do to a recording compared to a well applied compressor. The three illustrations show the same waveform first as recorded, then how it might look with limiting AcenterE, and with compression instead of limiting ArightE. ?otice that on the original waveform the volume varies Huite considerably from time to time. )pplying a limiter Anear rightE can lift the Huieter passages, but may make the overall effect too loud. The dynamics have been largely sHuee<ed out of the song. The illustration far right shows the same waveform after carefully using a compressor instead of a limiter. The track no longer clips, and more of the dynamics of the recording have been preserved. Doftware compressors vary from the simple to the comple,. =eIre going to concentrate here on understanding @ust five main terms. These are essential to understanding how to use compression. There are other factors, but letIs @ust focus on these five for now. -$res$o/d - This is the volume at which the compressor will kick in. For e,ample, if you set your threshold at, say, .%"d>, then nothing below that threshold will be compressed at all. Ra%io G This determines how gently or severely the compression is reHuired. For e,ample, a relatively gentle ratio like ! to % would ensure that for every ! decibels the volume of the recording goes above the threshold, the sound will be increased by only % 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 G This is how the volume of the track is ad@usted after compression. Bften you will want to raise the overall sound at least a little, to prevent the overall volume of the track from now being too Huiet. The gain control in Rea9o)p AaboveE is labelled +e%. .i)i% *u%pu% G Delecting this option will prevent the compressor output from e,ceeding " d>. 5ypass G this is the small tick bo, in the top right corner, ne,t to the -* button. Kou can use this to toggle bypass on and off, enabling you to assess what this plug.in is doing. =hen this is ticked Aas hereE the plug.in is active. =hen unticked it is set to bypass. KouIll find one of these in all plug.in windows.

E4a)p/e
%. Bpen the file A// -$roug$ -$e =ig$%.RPP and save it as A// -$roug$ -$e =ig$% 9*3P.RPP !. 6o/o the 5ouDou(i track. Oook at its media peaks. Kou can see that it starts at a steady volume, but over the last 1" seconds or so of the song it gets rather loud. 1. Play the track from the PP second mark for about %P secs then stop it. Try applying some compression to kick in at about G%! or G%1 d>. -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 !#6

#4 - REAPER P/ug-ins in Ac%ion

&. P. R. #. Display the F; =indow for this track. *nsert the V6-: Rea9o)p E9oc(osF. Create a loop to play over the last !" secs or so of this instrument. )s you do so, e,periment with setting the Threshold Avertical fader on the leftE and the 'atio. Delect the option to .i)i% Butput. KouIll probably end up with a setting of something like .%R on the Threshold and a ratio around &2% or P2% Asee pictureE. 6. ?ow save this file.

#4.#! .*6ERNs -ransien%s P/ug-ins

-sed well, a compressor can enrich a track or a mi,, but used badly it can do more harm than good. *f youIre not too confident about using a compressor, then you could do worse than look at .*6ERNs -ransien%s Hi//er. *tIs a simple compressor Amore like a clipper reallyE with @ust two parameters for you to control G Threshold and 'atio. )ll other settings are fi,ed. The threshold determines the volume at which compression begins G the ratio determines how much compression is applied. Feeling a little more adventurous4 Try adding .*6ER<s -ransien% 9on%ro//er immediately after this, to add more sustain and3or attack to the track, folder or mi,.

#4.#A .i%eon<s 7e-Esser

Oiteon:s de.esser is a specially crafted compressor whose purpose is to remove sibilance from vocal tracks. *t works by combining either a highpass or bandpass filter centred on a specific freHuency with a compressor to tame the sibilance. >y turning 3oni%or on you are able to sweep the FreIuency control to identify where the sibilance is worst, then turn onitor off again. )s a rough guide, male sibilance is likely to be found at around &P"" M< and female at about RP"" M< G but these can vary with individual singers. The 5and'id%$ determines how wide or narrow will be the freHuency range to which the compression is applied. -$res$o/d, Ra%io and Gain work in the same way as in a normal compressor.

#4.#4 Vo/u)e 9on%ro/ 'i%$ a =oise Ga%e

?oise /ates controls sound at the Huiet end of the scale. Bften 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+ Mowever, 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. Oike the compressor, the ?oise /ate can be Huite simple or more sophisticated. For now, weIre going to focus on @ust the basic ?oise /ate controls2

For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) !#Q

Up and Running: A REAPER User Guide v 4.59

-$res$o/d G -sed to specify a minimum sound level below which the ?oise /ate will kick in. A%%ac( G Dpecifies how Huickly 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 G This specifies how long the gate remains open after the signal falls below the Threshold Re/ease G This determines how soon the gate closes after the signal has fallen below the Threshold.

OetIs take an e,ample, using the pro@ect A// -$roug$ -$e =ig$% 9*3P.RPP

E4a)p/e
%. Dolo the So, track. !. Play the song from @ust before the end of the first verse. *f you listen carefully Aespecially thru headphonesE you can hear some unwanted sounds during the otherwise silent passage. Certainly you can see this on the trackIs S- meter. 1. Bpen the F; =indow for this track and add 9oc(os V6- ReaGa%e. &. Play the song again. )d@ust the -$res$o/d fader Athe first on the leftE to a level @ust above that at which the ThresholdIs S- meter is peaking during the Huiet passages Asee belowE. This will shut out the sound G visual confirmation is given by the S- meter on the right, which should now display no activity. P. Kou will probably find that the default settings for )ttack, Mold and 'elease work Huite well, but e,periment with ad@usting them if you wish. R. ?ow save this file again. Kou have @ust seen here a simple e,ample of using a noise gate. ?oise gates can be used to great effect and for a large number of applications Aincluding with a drum kit to cut out the bleed between micsE. )pplications like that are more complicated and reHuire a greater understanding of the noise gate:s many parameters.

#4.#5 6s%i//'e// 9$orus and 7e/ay Effec%s

*f you have ever owned an acoustic guitar then you probably know what a chorus effect is. Kou might have used a chorus pedal at some time to make your guitar sound fuller and richer, almost like two or more guitars. '()P(' includes a number of chorus effects. Dhown here is 6s%i//'e//<s 9$orus;6%ereo. This uses similar principles to the delay plug.in that we encountered earlier. *t has a number of additional controls, the most important of which is =u)ber of Voices. Try it -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 !6"

#4 - REAPER P/ug-ins in Ac%ion

and see+ This is another plug.in where youIll find the wet3dry mi, control and bypass toggle tick bo, Atop rightE can be very useful. Bther chorus3delay effects from Dstillwell include a mono 9$orus effect, 7e/ay;Pong Acreating a delay effect which can be ping.ponged between left and right speakersE, and 7e/ay;-e)po Aa simple delay effectE. For a really unusual delay effect, try e,perimenting with re)ainca/)<s f/oa%y de/ay.

#4.#@ =oise Reduc%ion 'i%$ ReaFir

ReaFir is a multipurpose dynamics plug.in that almost defies categorisation or description. *t can act as an (F, a Compressor, a ?oise /ate, and more. *n this e,ample, you will see how it can be used for noise reduction. The need for a noise reduction plug.in can arise when an otherwise good track has some unwanted background noise on it. This might, for e,ample, be hiss or rumble, or the sound of an air conditioner. 'eaFir can be used to remove such sounds from your tracks in real time. *n order to do this, you must first identify a passage on the track Aperhaps a second or twoE where you have recorded the unwanted noise by itself. This is likely to be at the very beginning of the track.

E4a)p/e and Procedure

*n overview, the procedure is this2 %. *nsert ReaFir in the F; window of the track containing the recorded items with the unwanted noise. !. Position the play cursor at the start of a passage containing @ust the unwanted noise. 1. Det ReaFir to 6ub%rac% mode. &. Det (dit ode to Precise. P. Delect the Bption to Au%o)a%ica//y bui/d noise profi/e. R. Play the track only for the duration of the passage containing the noise, then stop the playback. #. Kou should see that ReaFir has built a profile of the unwanted noise. This will be marked with a red line Asee above rightE. 6. ?ow uncheck the bo, labelled Au%o)a%ica//y bui/d noise profi/e. Q. 'eturn the play cursor to the start of the song and play it. %". Kou should now find that as the song plays, the noise that you profiled by following steps %. to P. has now been removed from your output.. =o%e: Kou might be a little pu<<led as to when to use a noise gate and when to use noise reduction software such as 'eaFir. The answer is usually Huite simple. ?oise reduction is suitable for removing a background noise that is fairly constant, such as an electrical hum, whereas a noise gate is better at dealing with occasional noise, such as a vocalist:s breathing sounds. For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) !6%

Up and Running: A REAPER User Guide v 4.59

#4.#B 3u/%iband 9o)pression 'i%$ Rea89o)p
)pplied to the aster, ultiband Compression can be a useful tool for adding body, warmth and volume to your final mi,. *t is outside the scope of this guide to suggest @ust how heavily or lightly you should apply your ultiband Compressor. any audio engineers believe Huite strongly that the contemporary trend being currently pursued by the ma@or record companies takes multiband compression too far. >e that as it may, a multiband compressor works by applying different rates of compression to different freHuency bands. This lets you shape the sound much more precisely than is possible with a simple compressor. The 'ea;Comp default settings include & bands. These are " to !"" M<, !"" M< to %,""" M<, %,""" M< to P,""" M< and above P,""" M<. Mowever you can add e,tra bands or delete superfluous ones. Kou can also change the band freHuencies as you wish. For e,ample, if you increase the top freHuency of >and % to, say, !P" M<, then that automatically becomes also the starting freHuency for >and !. f you have not used a ultiband Compressor before, then you are advised to start cautiously and become more adventurous as you gain in knowledge and confidence. Kou can e,periment on any of the sample A// -$roug$ -$e =ig$% pro@ect files that you have used elsewhere in this -ser /uide.

E4a)p/e
%. Bpen one of your sample pro@ect files. !. *nsert Rea89o)p in the F; window for the 1. Play your pro@ect from the beginning. &. *t is Huite likely that at this stage 'ea;Comp will have no effect on the sound. This will be the case if, as shown right, the peak levels Agreen vertical barsE fall short of the threshold settings Ared hori<ontal linesE for each band Asee e,ample aboveE >ut you can still learn something+ P. (nable the 6o/o curren% band feature. R. )s the song plays, select in turn each of the four tabs, %, !, 1 and &. This will enable you to hear separately each of the freHuency ranges that you are working on. #. ?ow disable the 6o/o 9urren% 5and feature. Disable Au%o )a(eup gain. This will need to be done individually for each of the four band. *f Au%o )a(eup gain were to be left enabled, the volume of our mi, would be pumped up after we make our other changes. aster.

-nlock your inner '()P(' with REAPER 4 Un/eas$ed2 !6!

#4 - REAPER P/ug-ins in Ac%ion

6. Q. )s the song plays, ad@ust the threshold for each of the bands until they come @ust below the peaks for each band. )n e,ample of this is shown here. The default 'atio setting of !2% is Huite a 7safe8 level. Try increasing the ratio for each of your thresholds up to around &2%. *f you find this makes the sound too compressed, ease the levels back towards !2%. 'emember, this is an e,ample, not a model+

%". (ven now, with these fairly conservative settings, you should notice the difference with 'ea;Comp enabled and set to bypass. =hen enabled, the different tracks should bind together better into a mi,. %%. *f you wish, you can e,periment with the various other controls, especially the Hnee. This setting determines how suddenly or gradually the compression is applied. %!. Kou can also e,periment with the Gain controls if you wish, both for individual bands and for your overall mi,, but don:t overdo it.

Using Rea89o)p: 6o)e -ips

DonIt use too many bands. Too many independently compressed bands can make your mi, sound dis@ointed. any of the best mastering engineers use only as few as three bands. Oisten closely to the changes in sound as you ad@ust the various settings. Bne affects the other, so it is important to take your time here. The )ttack settings determine how much time passes after the signal rises above the threshold before the compressor kicks in. The 'eleases settings determine how much time passes after the signal falls back below the threshold before the compressor is released. Try to ad@ust the )ttack and 'elease settings so as to make the compressor come in and out unnoticed. (specially when first using a ultiband Compressor in the aster, it is advisable to use the /ain settings only to compensate for loss of volume due to compression, not to pump the signal up. ) notable e,ception here might be where one bandwidth needs to be ad@usted slightly relative to the others. *t is often advisable to place a limiter Asuch as OBD('Is your F; Chain. aster OimiterE after the ultiband Compressor in

)nother, and completely, separate use for a ultiband Compressor is to compress a very specific freHuency within a track, for e,ample as a de.esser or de.popper on a vocal track.

For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) !61

Up and Running: A REAPER User Guide v 4.59

#4.#C .*6ERNs -i)e7ifference Pan
Bf the many $D plug.ins that are supplied with Aor available for use withE '()P(', OBD('Is TimeDifference Pan definitely merits a mention. *t is simple to use, but very effective. Dometimes you may feel that a track you have recorded sounds rather 7thin8 or 7wimpish8. KouIll want to fill it out a bit, or fatten it up to make it sound richer, warmer, fuller. Bne old trick is to duplicate the track and run the duplicate track a few ms behind the original, but panned differently. Fed back into the main mi,, this can almost make the one instrument sound like two instruments at times. OBD('Is TimeDifference Pan plug.in effectively does all this for you G with much less time and trouble on your part, and with very, very little CP- overhead. *f you want to e,periment with this plug.in to try out the effect for itself, the 5ouDou(i track on A// -$roug$ -$e =ig$%.RPP lends itself to this Huite well.

#4.#9 .*6ERNs E4ci%er

OBD('Is (,citer plug.in is a simple way of putting some high end sparkle back into an otherwise possibly dull mi, Problems with individual instruments should be fi,ed on their own tracks. Mowever, you might still wish to add some vitality to the overall mi, Place the (,citer at or near the beginning of the aster F; chain and see for yourself. ?ote these parameters2 FreIuency G the freHuency above which you want to add the sparkle. Try e,perimenting in a range of about !""" M< to &P"" M<. Dometimes, you may need to go even higher for the best results. 9/ip 5oos% G the amount by which you wish to boost the volume above this freHuency. >e gentle at first. ,ar)onics G the amount of Marmonics you want to add to the mi, Ago easy on this oneE. )nother plug.in in a similar vein is the 6:66%i//'e//&e4ci%er.

#4.!" 66-i//'e//<s ,uge5oo%y

This is a simple plug.in that can be used to enhance the bass freHuencies on any track. Try setting the reHuired freHuency first, then gradually increasing drive and mi, until you like what you hear.

#4.!# 6o)e Unusua/ 6 P/ug-ins

#4.!#.# U%i/i%y&bufsave
Placed as the first F; chain item Aor, for *D* tracks, immediately after the synthE and at the end of the chain, this adds feedback to the chain Asee e,ample belowE. -p to %"" buffer slots are available. -se the same slot for both instances of bufsave on the same track, and do not use that same slot number on any other track.

-nlock your inner '()P(' with REAPER 4 Un/eas$ed2 !6&

#4 - REAPER P/ug-ins in Ac%ion

The F; *n between the two instances of bufsave could be a solitary simple effect Asuch as a simple delay, or remaincalm:s floaty delayE or, as shown here, a whole seHuence of effects. The other four faders manage the audio flow. They determine separately for each bufsave instance the levels of source to buffer mi,, buffer to buffer mi,, buffer to destination mi, and source to destination mi,. *n particular, source to buffer mi, acts as a feedback control. =hen working with feedback, be cautious. )s a precaution, initially set both source to buffer mi, faders some way to the left. Kou can then slowly fade these up more as reHuired. *nteresting sounds can be obtained using more than one pair of bufsave plug.ins in an F; chain, with each pair being allocated its own uniHue slot.

#4.!#.!

6s%i//'e//&%$under(ic(

This one can be positively scary+ *t adds a bottom end thunder.like sound to a track. Kou could try using it on a bass drum, or a synth or even an electric bass J or anywhere where you want to create that atmosphere. *ts four faders are Huite easy to work with. Kou:ll likely get the best results without too much e,perimenting.

#4.!#.A

Re)ainca/);org&%onega%e

Tonegate is a tone generator triggered off a gate, to add sine, sHuare or noise tones. *t is made more interesting by the addition of pitch and fade in3fadeout controls. This plug.in really gives you plenty of opportunity to be creative. Briginally intended for use with kick or snare, it is remarkably versatile. Try it out on your electric guitar, for e,ample.+ (,periment at first with the FreIuency fader and the +avefor) options, then let your ears be your guide as you ad@ust the other controls. Kou can learn more about this and other great remaincalm $D plugins by visiting re)ainca/).org. For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) !6P

Up and Running: A REAPER User Guide v 4.59

#4.!! 6o)e Gui%ar F8 P/ug-ins
ThereIs a whole series of $esusonic plug.ins especially designed to help you shape your guitar sounds. >y and large, they work in much the same way as your guitar pedals do. Mere is a selection2

P/ug 1n
6 Gui%ar&a)p-)ode/ 6 Gui%ar&a)p-)ode/-dua/ 6 Gui%ar&c$orus

7escrip%ion
Oets you select an amplifier to be simulated, such as a Fender or a arshall. Oots of parameters for you to tweak+ The dual version of this plug.in lets you choose different left.right speakers+ The waveform is fed thru a series of delays whose delay times are slowly modulated. The shape of the chorus sound is moulded primarily by the Oength, ?umber of Soices, and 'ate settings. This plug.in works by distorting the shape and freHuency content of the waveform. The degree of distortion applied is determined principally by the /ain and Mardness settings. Flanging is produced when a signal is mi,ed with a delayed copy of itself, while the delay time continually changes. The flange effect is set by ad@usting the Delay Oength, 'ate and Feedback parameters. This four allpass filter stereo phaser effect settings include 'ate AM<E,'ange A in and a,E, and Feedback. The wah effect is a filter effect, produced by the Position, Top 'esonance, >ottom 'esonance and Filter Distortion settings. Tremelo is produced by low.freHuency variation in a sound:s amplitude envelope, achieved by setting FreHuency AM<E and )mount Ad>E. Fi/%er Ae..g.=ah or PhaserE 9o)pressor 7is%or%ion EP Pi%c$ 9$ange Ae.g. SibratoE 3odu/a%or Ae.g. Flange or ChorusE .eve/ 9on%ro//er Ae.g. Tremelo or OimiterE Ec$o Asuch as 'everbE

6 Gui%ar&dis%or%ion

6 Gui%ar&f/anger

6 Gui%ar&p$aser 6 Gui%ar&'a$ 6 Gui%ar&%re)o/o

*t is not suggested that you will want to use all these effects at once, but if you do use more than one of these, then the effect is cumulative. The order in which you apply them will determine how the output sounds. )s a starting point, one possible order is shown on the right. This does not mean that you shouldnIt hold back from e,perimenting with other F; ordering, to see what creative sounds you can produce+

#4.!A 6o)e *%$er REAPER 6 P/ug-ins

This ne,t part of this chapter will give you an overview of some of the other wonderful $esusonic plug.ins supplied with '()P('. *t is only a small selection, and the fact that any plug.in isnIt included in this table in no way implies that it is inferior to any of those that are included.

P/ug 1n
6 18&6%ereoP$ase1nver%er 6 18&P$aseAd:us%ingRou%er

7escrip%ion
Four choices, ?ormal Phase, *nvert Oeft, *nvert 'ight or *nvert >oth. ) stereo phase inverter with the addition of selectable input and output channels. This can be used, for e,ample, to create a fuller, more vibrant sound from a single mono track. ) custom designed compressor suitable for use with Digital Drums. ) simple peak limiter with a single control, Threshold. This can be used to prevent an individual track from clipping. -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 !6R

6 .*6ER&779 6 .*6ER&6P.i)i%er

#4 - REAPER P/ug-ins in Ac%ion

P/ug 1n
6 .*6ER&gf4Gonio)e%er

7escrip%ion
Place it at or near the end of the F; chain of a stereo track, folder, or the aster Kou will see a visual representation of the movement of the sound within the stereo field.

6 .*6ER&6%ereoEn$ancer

-sed to create an enhanced stereo effect in a stereo track, folder, bus or aster. =orks by ad@usting the width panning of high and low freHuencies independently, and to define the crossover point between the two. Bther stereo manipulation plug.ins include .i%eon&pseudos%ereo and 6s%i//'e//&s%ereo'id%$.

6 .*6ER&+aves$aping 7is%or%ion 6 3e%ers&%uner

) delightfully easy to use plug.in that adds distortion to a track.

*nsert this into a new track and arm for recording, then tune your guitar.

6 3e%ers&vu)e%er 6 3isc&%onifier 6 66%i//'e//&oDDifier

*nsert this into any track when you want monitor its S- levels closely. )n interesting plug.in that creates sound effects by shifting pitch or freHuency for audio blocks of a determined si<e. (specially good for fattening or doubling a vocal track.

For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) !6#

Up and Running: A REAPER User Guide v 4.59

P/ug 1n
6 66%i//'e//&e4pander

7escrip%ion
The opposite of a compressor+ Can restore dynamics to a mi, that sounds overcompressed. This works by further attenuating the volume of the signal when it falls below a given threshold. )dds a high pass filter and low pass filter to a track or e,ample, for removing bottom end rumble. aster. -seful, for

6 66%i//'e//&$pf/pf

6 66%i//'e//&badbuss)o:o

) nonlinear waveshaper with a difference.

-se in particular the nonlinearity, knee and mod settings to make a piece sound a little less perfect and a little more 7rootsy8 and authentic. 6 66%i//'e//&/ouderiDer 6 Pi%c$&superpi%c$ 6 Fi/%ers&au%opea(fi/%er ) simple plug.in with two controls, used to make a track or mi, louder. Bne of a number of plug.ins that can be used to change pitch. ) neat plug.in that lets you create autowah type effects, essentially by ad@usting center freHuencies and filter width. The closer together are the values of the min and ma, center freHuency and the lower the octave width setting, the more dramatic will be the effect. ) DC offset removal plug.in. ) simple plug.in. The a, Sol control can be set to prevent clipping in the aster track when you are e,perimenting with sounds and mi,ing. ) simple plug.in that increases or attenuates volume. Place it at the start of an F; chain to ad@ust track or item volume before F; are applied. )nother very simple plug.in, used to ad@ust the phase of a track or item.

6 Fi/%ers&dc;re)ove 6 U%i/i%y&/i)i%er 6 U%i/i%y&vo/u)e 6 U%i/i%y&p$ase;ad:us%

Bver !"" $esusonic plug.ins are supplied with '()P('. Mopefully, this chapter has given you more than a few good pointers, but it is not possible to document them all in this -ser /uide. For more information check out '()P(':s =iki G go to 'i(i.coc(os.co)&'i(i&inde4.p$p&9a%egory: esusonic ,

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#4 - REAPER P/ug-ins in Ac%ion

#4.!4 1ns%a//ing E4%ra 6 P/ug-ins
Kou can find more $D plug.ins that are available free of charge at s%as$.reaper.f)&%ag& 6-Effec%s To install any of these, follow this seHuence2 %. Download the effect and Aif necessaryE un<ip the file. !. *f the $D effect file has a .t,t e,tension, edit the file name to remove this. 1. Copy the effect to your '()P(' )pplication Data (ffects folder. Kou can find this by giving Awithin '()P('E the command *p%ions? 6$o' REAPER resource pa%$ > *f you wish, you can place it in a sub.folder within the (ffects folder. &. Close and restart '()P('. Dome $D F; come with other files Asuch as data files or image filesE. )s a rule, data files are placed in a sub. folder in the )pplication Data Data folder, and other files are placed relative to the $D F; file. *n most cases where this is necessary, the $D effect developer will supply specific instructions with the effect.

#4.!5 6pecifying V6- P/ug-in Run 3ode

=ithin the F; >rowser you can right click over any SDT plug.in to specify your preferred mode for running that individual plug.in. Kour 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 Huarantine '()P(' from the effects of any plug.in that you suspect may be causing performance and3or stability problems.

#4.!@ -$ird Par%y P/ug-in Prese%s

Kou can use your favourite third party SDT and Direct; plug.ins with '()P(', such as Donitus, =ave )rts, Dony, and so on. any of these plug.ins are supplied with a number of Presets. The method of accessing these will vary depending on such factors as the plug.inIs native interface and which type of plug.in it is. *n this section, we will look at three e,amples. )rmed with this information, you should be able to figure out where to find the presets for any of your plug.ins.

E4a)p/e #
This e,ample is of a popular Direct; Donitus plug.in, Phase. *n this case, the plug.in interface includes its own native Prese%s section. Clicking on that Ashown leftE displays a menu of supplied presets. Kou can also store your own presets here if you wish, as the Donitus range of plug.ins includes its own preset manager. ?otice that you can also use '()P('Is own Preset Oibrary to store your presets with '()P(' rather than with the plug.in. This is accessed by clicking on the small J button shown @ust to the left of the Param button. This is especially useful when you are working with plug.ins that might not have their own native Preset anager.

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Up and Running: A REAPER User Guide v 4.59

E4a)p/e ! This e,ample shows a T=est SDT plug.in, DT()DK Pro. This plug.in does not have its own native preset manager. Mowever, as with other plug.ins you can use the '()P(' SDT program interface to create and manage your own presets.

E4a)p/e A
) Direct ; plug.in this time, DonyIs Sibrato. *n this case, native presets do not appear when clicking on the '()P(' Preset drop down list arrow. This will only display any presets that you have created yourself. *n this e,ample, right.click over any vacant area of the plug.inIs /-* interface to display a list of factory presets.

#4.!B .osing %$e Grap$ic User 1n%erface EGU1F

There might be times when you might want to lose a SDT plug.in:s graphical user interface A/-*E and instead display its parameters as a simple series of faders. This is when the U1 button in '()P(':s plug.in interface comes in. Clicking this button causes the plug.in and its various controls to be displayed in a simpler format. Mere:s an e,ample, using the Terry =est SDT Soc. (F plug.in.Kou might like this plug.in, but perhaps not its rotary controls. Dome people find rotary controls Huite difficult to control with a mouse. *n that case, you might want to click the plug.ins U1 button Asee position of mouse cursorE, and turn that graphical interface into this2 *n '()P(':s generic interface, every parameter is controlled by a hori<ontal fader. There is also an option on the P/ug-ins? V6page of your preferences settings to 7efau/% V6%o generic U1 Eins%ead of p/ug-in U1F.

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#5 - 3ore REAPER Rou%ing E4a)p/es #5 3ore REAPER Rou%ing E4a)p/es

This section is mainly intended for reasonably e,perienced users of D)= software, to show you some of the more clever aspects of '()P('Is routing that are probably different from anything youIve e,perienced before. >ut hey, even if youIre a complete newb, you might like to have a look anyway. Kou might find it interesting J or you might prefer to skip past it for now and come back to this chapter later.

#5.#

9on%ro//ed 5/eed

>leed is a term used when material intended to be recorded on to one track manages to overflow onto others. This commonly happens2 =hen more than one voice or instrument is recorded at the same time, each with its own microphone. For e,ample, you might record a person singing and playing an acoustic guitar at the same time, perhaps one vocal mike, one guitar mike. Mowever, you will find that some of the vocal will bleed thru on to the guitar mike, and vice versa. =ith layered recording, when the headphones are so loud, or ill.fitting, that the microphone being used for recording actually picks up some of the output of the headphones. Meadphone bleed is bad, period. *f, for e,ample, you have an artist who likes to hold one headphone to her ear while overdubbing a vocal, then make sure the mi, is sent to that ear only. Mappily, '()P('Is fle,ible routing makes this simple. *n the e,ample shown ArightE, output from the aster is directed to both Dpeakers, 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. AOayered recording is where each track is recorded one at a timeE. The trouble is, the 7all at once8 method of recording it also has negatives G serious ones. For e,ample2 *t isnIt possible to drop in and overdub a short passage to correct perhaps a vocal phrase or a couple of bars on the guitar. >asically, the whole track has to be recorded again each time. (verything. *t isnIt possible in mi,ing to get the best sound for each track. For e,ample, if you need to add some presence or compression to the vocal track, then you will also be adding it to the guitar bleed in the same track. This is where '()P('Is routing capabilities can be so useful. They allow you have the best of both worlds G the richer, fuller sound that you can get from adding a small amount of controlled bleed, but without the disadvantages. MereIs how it works2 -se layered recording, to ensure that each track is recorded cleanly. -se '()P('Is routing to add a little bleed where you want it, before or after any F; in the F; chain.

E4a)p/e
This e,ample demonstrates a simple use of routing to create a controlled bleed effect. %. Bpen the file A// -$roug$ -$e =ig$%.RPP and save it as A// -$roug$ -$e =ig$% 5.EE7.RPP !. ute the 5ouDou(i track. To keep this e,ample simple, we wonIt be using it here. 1. Delect the Vo4 track, right click over the Solume fader and set the number of track channels to four.

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Up and Running: A REAPER User Guide v 4.59

&. Display the F8 +indo' for the Vo4 track. )dd a 'everb F; of your choice. *n this e,ample, we are using ReaVerba%e which is included with '()P('. P. )fter inserting the 'eaSerbate plug.in Aor whatever you are usingE, ad@ust its settings to suit. Click on its ! in ! out button and use its pin connector to direct output to Channels 1 and & only Asee rightE. R. Display the 1* =indow for the So, track. #. )dd 6ends from the So, Astereo source Channels 13&E to both /uitar tracks Achannels %3!E, as shown. Pan these sends at about #"L left and right respectively, about G%Pd>, and Post F; Asee belowE. This ensures that the vocal track will be heard crisply and cleanly from the center, whilst its reverb is directed Huite widely left and right. 6. Play the song, with the So, track aster3Parent send disabled. )d@ust the Dend levels of So, to both /uitar Tracks so that the So, can only @ust be discerned in the very background. Q. (nable the aster3Parent send on the So, and play again. Kou may need to tweak some reverb parameters and3or send levels. The So, should sound fuller and richer than before. %". Dave the file. =o' %ry %$is2 'emove the 'everb F; from the vocal track. 'emove the sends from the Voca/ Track to the Gui%ar Tracks. Create a new track called Vo4 Reverb and insert a 'everb F; of your choice. Create a send from your Vo4 track to this Vo4 Reverb track. Create sends from the Vo4 Reverb track to both Gui%ar tracks, Post F;. Play the song, ad@usting Dend, Pan and Solume levels to suit. Disable the master3parent send of the 'everb track G you should notice a significant difference.

#5.!

6p/i%%ing 9$anne/s

This e,ample will introduce you to a feature in '()P(' that possibly delivers you more mi,ing power than any other single aspect2 the ability to create and use multiple channels. DoesnIt sound very interesting or e,citing does it4 *tIs not an easy concept to understand at first, so, @ust for fun, weIll take as simple an e,ample as we can to introduce the concept. Kou have an acoustic guitar track recorded. Kou should by now have a general idea at least about how to shape its sound with (F, or fatten it with a little delay. >ut in this e,ample, weIre going to take it to another level2 we can split the recorded track by different freHuency bands into, say, three different paired channels, and perhaps pan different freHuencies differently, or add some trailing delay @ust to one channel Ai.e., one selected freHuency rangeE. =hy would you want to do this4 =ith this particular e,ample, maybe you would, maybe you wouldnIt. >ut being able to create and use channels in this way opens up endless creative mi,ing and editing possibilities. =eIll start with this e,ample because itIs a fairly simple one to put into practise, and it will help you to understand how itIs done. )fter that, weIll look at a more comple, case.

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#5 - 3ore REAPER Rou%ing E4a)p/es

E4a)p/e
%. Bpen the file A// -$roug$ -$e =ig$%.RPP and save it as A// -$roug$ -$e =ig$% 9$anne/s.RPP !. =e are Afor the purpose of this e,ampleE going to work only with the track G%r 5ody. 3u%e all other tracks e,cept this. To do this, hold the A/% key and click on the 3u%e button for this track. 1. =e now are going to create three tracks G letIs call them /host Tracks G to mirror each of the three bands that we are going to split our G%r 5ody track into. Create these three tracks and label them .o', 3ediu)? and ,ig$. Dee illustration on right. &. Display the 1* +indo' for the G%r 5ody track. Det the number of 9$anne/s Anear the topE to @, and create sends to each of the three tracks that you have @ust created. P. Dend )udio from 9$anne/s #&! to #&! on the .o' track, 9$anne/s A&4 to #&! on the 3ediu) track, and 9$anne/s 5&@ to #&! on the ,ig$ track Asee illustration rightE. R. /etting complicated4 Then make sure that your Rou%ing 3a%ri4 is in view. #. ?ow open the F; window for the G%r 5ody track and insert the 6 .*6ER&A5and6p/i%%er. 6. Det the first freHuency fader to about !"" M< and the second to about !""" M<. Q. Dolo the .o' track and play. ?otice you hear only the Oow freHuencies. %". Mold 9%r/ A/% and click on the Dolo button on the 3ediu) track. ?otice you hear only the edium freHuencies. %%. Mold 9%r/ A/% and click on the Dolo button on the Migh track. ?otice you hear only the Migh freHuencies. %!. (,periment ad@usting the faders in the 1 >and Dplitter and playing back. ?otice how the sound changes. Det them back to their defaults afterwards. %1. ?ow select the 3ediu) track, open its F; window and add 6:Gui%ar&c$orus. )d@ust the settings to suit. %&. ?ow unsolo any solo tracks, unmute any muted tracks to restore all tracks to your mi,. KouIll probably want to fade down the original /tr >ody track to about G R d> and the >ou<ouki to about G %" d> Aor mute altogetherE. %P. ake any further ad@ustments you want to your 7e/ay 9$orus settings. )n e,ample Abut only an e,ampleE is shown above. For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) !Q1

Up and Running: A REAPER User Guide v 4.59

%R. (,periment with panning the three bands differently, to create a fuller sound. %#. Dave this file. The plug.ins supplied with '()P(' include several which can be used for channel manipulation, including a four band splitter Ashown hereE and a five band splitter.

#5.A

Fu// and Fa% Voca/s 'i%$ Rea7e/ay

This ne,t e,ample shows how you can combine '()P('Is channel splitting capabilities with the 'eaDelay plug.in to create a simple effect for fattening up thin vocals G all on a single track+ The flow chart on the right illustrates how this will be done. The signal flow shown has this effect2 *t creates a sidechain which is fed into the 'eaDelay plug.in to fatten the original sound and to fill it out. *t uses 'eaComp to apply some compression to the main vocal. The delayed signals are then mi,ed back in with the original signal. Further compression is then applied. if you wish, you could apply more F; to any of2 The original dry recording. The sidechained and delayed signal. The final mi, of the dry and sidechained AdelayedE signals together. ?ote that the order of the plug.ins in the F; chain is significant2 if you change the order, you change the outcome+ This issue will be e,amined again more closely in later e,amples.

E4a)p/e
Bpen the file A// -$roug$ -$e =ig$%.RPP and save it as A// -$roug$ -$e =ig$% REA7E.A0.rpp. !. Dolo the Vo4 track. For the purpose of this e,ample, we will be working with the vocal track alone. 1. Display the 1* window for this track and set the number of track channels to 4. &. Bpen the F8 +indo' for this track. *f there are any plug.ins already in the chain, remove them. P. ?ow insert Rea7e/ay into the F; chain. R. Click on the ! 1n ! But button to display the connector matri,. Oeave the 1npu%s at their default AChannels % and !E, but ad@ust the *u%pu%s so that they are 9$anne/ A AOeftE and 9$anne/ 4 A'ightE, and only these two channels Aas shown aboveE. #. Click on the Add -ap button to add a second page. 6. Det Page % to a Delay Oength AtimeE of about 1.P ms and musical length ". Q. Det Page % Pan to about P"L Oeft. This shows on the fader as G".P. Dee the illustration below. %". Det Page ! to a Delay Oength AtimeE of about Rms or # ms and musical length ". %%. Det Page ! Pan to about P"L 'ight. This shows on the fader as ".P. %!. ake sure that both pages are Enab/ed and that neither is soloed. %.

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#5 - 3ore REAPER Rou%ing E4a)p/es

%1. Det the +e% level to about . Q d> and the 7ry to about .! d>. >ecause we have not yet added a channel mi,er you will not yet hear the delay effect. %&. *nsert Rea9o)p into the F; Chain. Oeave the ain *nputs and Butputs both at their default settings, which are Channel % AOeftE and Channel ! A'ightE. %P. Det the Ra%io to about @:#. )d@ust the -$res$o/d so that for louder passages *u%pu% is reduced by about R or # d>. %R. =e can now @oin our channels back together again, to mi, the delayed signal with the compressed signal. *nsert the 6:18&3i4er;C46;#46 into the F; chain Aafter 'eaCompE. %#. Fade all but the first two faders all the way down^ ad@ust the other two faders as you wish Asee rightE. %6. )dd another instance of Rea9o)p after the mi,er. )d@ust settings to suit. %Q. Play the file, ad@usting the track volume faders to suit your ears. Compare the vocal sound with F; alternately enabled and bypassed. =ith these F; enabled, the vocal should sit above the mi, rather more easily. =o%e: *n this e,ample, the order in which the F; are applied is significant. =ith the order that we have used, the sidechained AdelayedE signals do not go thru the compressor, with the result that these signals retain more of their original dynamics.

#5.4

REAPER 6end -ypes

(very send is defined as being one of three types . Pos%-Fader EPos%-PanF, PreFader EPos%-F8F, or Pre-F8. The default type is Pos%-Fader EPos%-PanF, but this can be changed in your preferences if you wish ATrack3Dends defaults pageE. Different send types send the audio at different stages in the audio signal flow . For e,ample, the volume of a send that is Post.Fader APost.PanE will be affected by changes made to the source track:s volume fader. ) send that is Pre.Fader APost F;E will not. )n audio send that is Pre.F; will not be affected by any F; in the source track:s F; chain. For more complete information, consult the flow charts at the end of Chapter P.

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Up and Running: A REAPER User Guide v 4.59

#5.5 9$anne/ 6p/i%%ing and Pi%c$ 6$if%ing

KouIve already seen how 'eaPitch can be used, for e,ample, to create vocal harmonies from a lead vocal track. *n this e,ample you will see how by splitting our vocal track into several channels you can create a whole vocal ensemble, with different F; and plug. ins being applied to different harmony parts. This is especially useful, for e,ample, if you want to compress your vocal harmonies before lowering them, to make them sit smoothly and subtly behind the lead vocal. The illustration ArightE demonstrates this concept. *n summary, this is what happens2 The Socal Track is assigned si, channels. Two instances of 'eaPitch are inserted, and the signal from channels % and ! is fed to both of these. The output from the two 'eaPitch instances are directed via channels 1 and & and P and R respectively to two separate instances of 'eaComp. *n each case, you will need to specify Channels 1 and & A'eaComp %E and Channels P and R A'eaComp !E as the input source for your compressors. )u,iliary *nputs should be set to nothing, and the Butput channels should be the same as the *nput Channels. The output of the two compressors is sent to a single instance of 'ea(F, as is the original signal on Channels % and !. *n order to do this, you should make *nput % for 'ea(F Channels %, 1 and P Asee illustration rightE, and *nput ! should be Channels !, & and R. >y sending the three different audio streams directly into 'ea(F we cut out the need for a channel mi,er. Mowever, in doing this it makes it more difficult to ad@ust the relative volume levels of the three audio streams. *n this e,ample, you could use separate instances of the $D utility Solume plug.in in each chain to do this. The three streams are @oined back together at 'ea(F, from which they are fed to the volume fader and then to the aster.

This method can be employed, for e,ample, when you wish to use more than the %R channels that can be handled by any of the mi,er plug.ins. Kou can in fact use up to R& channels. )gain, the order in which F; are placed in the chain is important. Bne possible strategy is to insert them in reverse order of their channels, i.e. highest channel numbers first. The critical factor, however, is to place those F; which both take their input from and direct their output to Channels %3! after any F; whose output is directed to sidechain channels Asuch as 13& or P3RE. -ip: *f you forget to create your reHuired track channels before loading your plug.ins into a track:s F; chain, then you can still add them 9on the fly9. To do this, @ust click on the small J button in the bottom left corner of the Plug.in Pin Connector window . see above.

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#5 - 3ore REAPER Rou%ing E4a)p/es

#5.@ Audio 7uc(ing

The ne,t e,ample will show you how to use '()P('Is routing capabilities to create an effect known as duc(ing. Put simply, this is a term which describe what happens when a compressor is set up to ensure that the volume on one track is automatically lowered whenever the volume on another track is raised. Kou might want to do this, for e,ample, when working with a kick and a bass. *n this e,ample, weIll use the >ou<ouki, /uitar and Socal tracks in our sample pro@ect, @ust to show you how itIs done. =e will use audio ducking to ensure that the overall volume of the instruments are automatically lowered slightly whenever there is a signal on the Socal track. This helps lift the vocal track slightly above the mi,. *n order to do this, we use multi channel routing in con@unction with the 'eaComp compressor. This diagram Aabove rightE illustrates the concept of how we use sidechaining to achieve our ducking effect. OetIs take it step by step.

E4a)p/e
%. Bpen the pro@ect A// -$roug$ -$e =ig$%.RPP and save it as A// -$roug$ -$e =ig$% 7U9H.RPP. !. *f there are any tracks other than G%r 5ody, G%r =ec(, Vo4 and 5ouDou(i, delete them, so that you are left with @ust these four tracks. )d@ust the volume and pan faders of these tracks to get a reasonable mi,. 1. *f necessary, change track order so that So, is Track %, /tr >ody Track !, /tr ?eck Track 1 and >ou<ouki Track &. &. *n the Track Control Panel, select the Vo4 track and press 9%r/ - to insert a new track after this. ?ame this new track 1ns%ru)en% 6ub)i4. P. Click on the Fo/der icon to make this track a folder. ake the >ou<ouki track the last track in the folder. R. =e need to add two more channels to the 1ns%ru)en% 6ub)i4 so that it can receive a sidechain signal from the So,. 'ight click over the Solume fader for this track, then set the number of channels to four, as shown here. #. =e now need to create a sidechain to enable the various instrument and 1ns%ru)en% 6ub)i4 track to detect the signal level of the Vo4 track. 6. Drag and drop from the 1* button on the So, track to the 1* button on the *nstrument submi,. This will create a send and open the controls window for that send. )ccept the default send type Post Fader, Post PanE and set the destination channels to 13& Aas shown aboveE. Q. ?e,t, display the F; window for the *nstrument Dubmi, Track. )dd the 9oc(os plug.in V6-: Rea9o)p E9oc(osF.

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Up and Running: A REAPER User Guide v 4.59

%". ?otice that this plug.in includes an item called 7e%ec%or inpu%. This is where we tell '()P(' that we want the So, level, not the >ou<ouki level to control when the compressor kicks in. This Detector input offers two basic choices G 3ain 1npu% and Au4i/iary 1npu%. %%. =e need to ensure that ain *nput is defined as the media on the Dubmi, track AChannels % and !E, and )u,iliary *nput is defined as the stream coming from the So, track on Channels 1 and &. %!. Click on the 4 1n ! *u% button and if they are not already set, set the assignments as ain *nput O . 'eceive from Channel %, ain *nput ' . 'eceive from Channel !, )u,iliary *nput O G 'eceive from Channel 1, and )u,iliary *nput & G 'eceive from Channel &. These are as shown on the right2 most probably these will be the default settings. %1. ?ow display the 7e%ec%or 1npu% drop down list and select Au4i/iary 1npu% . J R ArightE. This ensures that the compression will be applied to the instrument mi, in response to changes in the volume AstrengthE of the incoming signal on channels 13& from the vo, track. =hen the volume of the vo, e,ceeds the threshold setting, the instrument mi, will be compressed. %&. ?ow play the song. )d@ust the -$res$o/d Afirst vertical faderE downward, so that during Socal passages the Smeter peaks above the fader level. %P. Dlide the Ra%io fader right until you are satisfied with the overall amount of reduction on the *nstruments. This will probably be somewhere between &2% and R2%. Bbserve the flashing red bar to the left of the Butput S-. This indicates the amount of reduction that is occurring on the submi, track. *n the e,ample shown, this is G1.Q db. %R. Dave the file. Dhown are possible compressor settings that might be appropriate in this case. The trick is not to make the compression too obvious, but to have it @ust sHuee<ing the peaks of instrument mi, down a little to make room for the vocal. -ip: ) Huick way to create a sidechain from one track to another is to drag and drop from that track:s *B button directly to the window of the plug.in on the receiving track.

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#5 - 3ore REAPER Rou%ing E4a)p/es

#5.B 7oub/e 7uc(ing

This e,ample should only be attempted after you have completed the e,ample in the previous section Audio 7uc(ing. *t builds on the work you did there, to apply a further instance of sidechaining, this time to the aster. =e will set up another instance of 'eaComp, this time in the aster Track, to ensure that another layer of gentle compression is applied to the entire mi, during the vocal passages. The same audio stream is used to apply ducking in two different ways G hence the term double ducking. )s with many of the other e,amples included in this section, the main purpose of this e,ample is to help you to understand how to use '()P('Is routing capabilities. The e,ample itself is of secondary importance. *n the previous e,ample, we used a send from the So, track to Channels 1 and & on the *nstrument i, track and then used these as )u,iliary *nputs to gently compress the *nstrument i,. >ecause the *nstrument i, is itself being routed to the aster, that So, track send will automatically also be sent to the aster on Channels 1 and &. =e can use this @ust to smooth out the mi, a little.

E4a)p/e
%. Bpen the file A// -$roug$ -$e =ig$% 7U9H.rpp and save it as A// -$roug$ -$e =ig$% 7*U5.E 7U9H.RPP. !. *n either the TCP or the CP, select the 3as%er Track. 'ight.click on the Vo/u)e fader for the aster and ensure that the number of Channels is set to four. Close this window. 1. Display the F8 +indo' for the insert Rea9o)p. aster Track and

&. Bpen the pin connector window. )s before, make sure that the )u,iliary *nput O is set to Channel 1 and )u,iliary *nput ' is set to Channel &. These should already be the default settings. P. Det the Ra%io to around !." to %. R. Display the 7e%ec%or 1npu% drop down list and select Au4i/iary 1npu% . J R. #. Play the song. 6. During the vocal passages, ad@ust the left hand vertical Threshold fader so that the compression kicks in gently. 'aise the vertical +e% fader by about a decibel or two. Q. ake sure that .i)i% *u%pu% is selected. )n e,ample of how your settings might look is shown here.

%". ThatIs it+ Kou can now save your file. These last couple of e,amples have introduced you to how you can use sidechaining for ducking. Kou can use sidechaining in con@unction with a number of other '()P(' plug.ins, including 'ea/ate, 'ea;Comp, 'eaComp and 'eaFir.

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Up and Running: A REAPER User Guide v 4.59

#5.C Using V9A for -rac( Vo/u)e 9on%ro/

SC) stands for Soltage Controlled )mplification. '()P(' makes available $D SC) plug.ins that enable you to use one track to control the volume of any other track or selection of tracks. ) similar outcome can often be achieved by organising tracks into groups or folders. -sing the SC) plug.ins, however, you are able to control the volume of selections of tracks that do not belong to any groups or folders. They are easy to use and give you great fle,ibility. Two plug.ins are reHuired G one for a controlling master track, one for each of the slave tracks it controls. Kou can use '()P(':s native $D2 -tility SC) plug.ins, or you might prefer =itti:s more fully featured variations of these. Kou can download these at s%as$.reaper.f)&v&#B@BA&p/ugins.Dip *n this e,ample we will use '()P(':s native $D plug.ins. The procedure is as follows2 E4a)p/e %. )dd an empty track to your pro@ect. ?ame this track something like V9A Vo/ 9on%ro/. !. )dd the plug.in 6:U%i/i%y& vca;)as%er to the F; chain for this track. )s you can see ArightE, this has only one parameter, Vo/u)e. 1. )dd the plug.in 6:U%i/i%y& vca;s/ave to the first of the tracks whose volume you wish to control. This too has a simple interface. This plug. in should be the last in the track:s F; chain. &. Kou now need to create a send from the Sol Control track to this slave tracks. The easiest way to do this is simply drag and drop from the 1&* button on the Sol Control track to the slave track:s track panel. This causes a send control window Ashown rightE to appear. ake sure that you select the receiving slave track:s sidechain channels Ashown here, 13&E as the destination of the send. P. 'epeat steps 1 and & for every other track that whose volume you wish to control with the vcaNmaster plug. in on the Sol Control track. R. That:s it+ Kou can now use the Solume Ad>E fader on the vcaNmaster plug.in to control the volume of all slave tracks. ) handy tip is to add a parameter control to the track panel. To do this, within the plug.in window click first on the Para) button, then on 6$o' in %rac( con%ro/s. This will allow you to ad@ust the parameter:s level without the F; window needing to be open Asee rightE. #. *f you wish also to display the track parameter control in the mi,er panel, simply enable 6$o' F8 para)e%ers '$en siDe per)i%s from the i,er:s conte,t menu. For more information about this, see Chapter %". 6. ?ote also that the SC) master:s Solume Ad>E control can be assigned an automation envelope if you wish. For more information about automation envelopes see Chapter %R. =o%e: -$e +i%%i V9A p/ugins The =itti SC) controls plugins are similar to '()P(':s native $D versions, the main difference being the addition of drop down lists to enable you to easily select which paired channels are to be used for the sends and receives. >y using different permutations of send and receive channels, you are able to set up multiple instances of the SC) master control plug.in. These can be used independently of each other to control the volume on different track selections.

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#5 - 3ore REAPER Rou%ing E4a)p/es

#5.9 Rea6a)p/o)a%ic and Rea7ru)s

This e,ample uses the Rea6a)p/o)a%ic plug.in provided with '()P(' in con@unction with the Rea7ru)s track template created by :a)es%er. Kou can download this template from the '()P(' Dtash on the '()P(' web site. To check the current address for this, visit the '()P(' Forum and check @amester:s signature, or do a search. )fter downloading, it should be copied into your Track Templates folder. For ;P users, this is 9:G7ocu)en%s and 6e%%ingsGUser =a)eGApp/ica%ion 7a%aGREAPERG-rac(-e)p/a%es The template does get modified from time to time, so that the version that you download might not be e,actly the same as the one used in the description that follows. This should not matter. )lso, in the e,ample, we will using the 3171 Edi%or for demonstration purposes, but if you have a keyboard, you can use that instead.

E4a)p/e
%. Create a new empty pro@ect file and save it as Rea7ru)s E4a)p/e.RPP !. 'ight click over the Track Panel )rea and from the menu choose 1nser% %rac( fro) %e)p/a%e then your Rea7ru)s template. ?otice that a track will be inserted, with eight individual named instances of Rea6a)p/*)a%ic5""" inserted in its F; chain. 1. ?otice that each instance of Rea6a)p/*)a%ic5""" is set up differently. From top to bottom, these are Cick, Dnare, Perc %, Perc !, Perc 1, Perc &, MM Cl, MM Bp. ?ear the bottom left corner you can select a *D* channel for each sample. The default is ", which means all channels. Dhown here is the Dnare, which has been set to use channel %. *n this illustration, an audio sample has also been inserted. That:s the ne,t step+ &. Display the edia (,plorer G 9%r/ A/% 8 G and select a folder where your samples are stored. P. *n the 'eaDrums F; window select the item Cick. From '()P(':s edia (,plorer window you can drag with your mouse the reHuired sample file and drop it into the 'eaDamp window, in the black area above the >rowse button. )lternatively, you can either use the plug.in:s 5ro'se button to make your selection, or select any e,isting item in )rrange view and click on 1)por% i%e) fro) arrange. )nother option is to click on the V/is%W button to open a window where you can build up a list of samples. This list can be sorted by file name, or by peak or ' D values. R. ?ow repeat this process in the other seven 'eaDamp instances, one at a time, for each of the other seven For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) 1"%

Up and Running: A REAPER User Guide v 4.59

instruments, each time inserting a different appropriate sample. *f you wish, rename any of the 'eaDampl. BmaticP""" instances to reflect the sample name. #. ?otice that each instance of 'eaDamplBmaticP""" uses different =o%e s%ar% and =o%e end settings. This makes allows the notes Aand any other eventsE for the different instruments to share a single *D* item. 6. ake sure the 'eaDrums track is not record armed. Dave the file. Q. )long the timeline select the first %" seconds or so. =ith your 'eaDrums track selected, choose the 1nser%? =e' 3171 1%e) command to insert a *D* item. %". Double click on this item to open the *D* (ditor. From the menu choose Vie'? Piano Ro// =o%es? -riang/e and Vie'? 3ode? =a)ed no%es. *f necessary, scroll up or down to display your samples. F or each sample, its row number will correspond to its 'eaDamplBmaticP""" note start3end setting. For e,ample, in this case the snare Ashown aboveE will be row 1#. %%. Compose a few notes, similar to the concept shown below. Don:t 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('Is channel routing to send different parts to different tracks, where you can add F;, ad@ust panning, volume, etc. OetIs suppose we wish to apply some F; to the kick and the snare individually. 'ight click over the Solume fader for the 'eaDrums track and set the number of channels to four. =eIll start with @ust one or two. %1. Press 9%r/ - twice to add two more tracks. ?ame the first of these tracks Hic(, the second 6nare. %&. *n the Rea7ru)s track set the number of Channels to &, and create a send to the new Hic( -rac( Ausing channel 1E and the 6nare -rac( Ausing channel &E. %P. Bpen the F8 +indo' for the Rea7ru)s track. %R. Delect the first Rea6a)p/o)a%ic5""" instance, the Hic(. Det both of its SDT Buts to Channel 1. %#. Delect the 6nare Rea6a)p/o)a%ic5""" instance and set both of its SDT Butputs to Channel &. %6. ?ow play the music. ?otice that the Cick and the Dnare have been rerouted to their respective tracks. Kou could now place any F; that you wish in the F; windows for those tracks. %Q. Dave 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. -ip: *f you download the track template Rea7ru)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. Rea6a)p/*)a%ic5""" is a very powerful and fle,ible piece of software. *ts many capabilities and applications e,tend well beyond the simple e,ample outlined above, and beyond the scope of this -ser /uide. They could well command an entire manual in their own right+ For e,ample2 (ach instance of 'eaDamplBmaticP""" has its own independent set of controls Avolume, pan, pitch bend, attack, sustain, release, decay, etcE. -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 1"!

#5 - 3ore REAPER Rou%ing E4a)p/es

Changes made to the attack, delay, sustain and or release settings will be represented on the graph AenvelopeE that is superimposed on the sample waveform in the 'eaDamplBmaticP""" window. The 3a4 Voices rotary can be used to select any number between % and %R. Mowever, if you need more than %R you can type in any number up to %!6. This, for e,ample, allows 'eaDamplBmaticP""" to be used with long cymbal rides. ?otice too that the number of active voices is shown during playback ne,t to the ma, voices value. For most of the controls you can create arrange view automation envelopes and3or control them using parameter modulation. These topics are e,plained in Chapters %R and %#. 'easamplomaticP""" can be challenging for ine,perienced users and reHuires a sound general understanding of *D* and sampling concepts. )nother e,ample follows below. For more information about the various 'easamplomaticP""" parameters and controls, see the free '()P(' (ffects /uide, available at
$%%p:&&'''.coc(os.co)&Kg/aDfo/(&ReaEffec%sGuide.pdf

#5.#" Round-Robin 3u/%isa)p/ing

The round.robin option can be used in con@unction with the probability setting to determine whether any given instance will produce a sound from any given note. For e,ample, at %""L it will play every note. )t P"L it will ignore every other note. This can be used to introduce variation into your sampled sounds. Consider an e,ample where you use a separate track for each percussion instrument G kick, snare, etc. Dhown here is a simple arrangement for the snare track, with two instances of 'eaDampllBmaticP""", each containing a separate and subtly different snare sample. For both instances round-robin and Re)ove p/ayed no%es fro) F8 c$ain 3171 s%rea) have been enabled. For Dnare % probability is set to P"L, for Dnare! %""L. This ensures that during playback each of the two instances Aand therefore two samplesE will be used alternately, in rotation. *f in this e,ample you had three samples rather than two, probabilities would be set at 11L A% in 1E, P"L A% in !E and %""L A% in %E respectively. Four four samples, these settings would be !PL A% in &E, 11L A% in 1E, P"L A% in !E and %""L A% in %E, and so on. ore comple, variations are possible. For e,ample, a $D2 *D*3midiNchoke plug.in is available which can be used in con@unction with 'eaDamplBmaticP""" to help control whether any sound will be produced from a given note. )n e,ample showing how this can be used can be seen here2 $%%p:&&foru).coc(os.co)&s$o'pos%.p$pXp[#!BCAC5]pos%coun%[!C

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Up and Running: A REAPER User Guide v 4.59

#5.## 3u/%i *u%pu% V6-i P/ug-ins
Kou may well use these functions to set up multi output SDTis only once or twice but itIs 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.

E4a)p/e #: Paired Audio -rac(s

%. !. 'ight click over the empty area of the Track Control Panel and from the menu choose 1nser% vir%ua/ ins%ru)en% on ne' %rac(> =hen the F; browser window is shown, double.click on the reHuired instrument. This e,ample uses the 6.output version of GriDD/y A& stereo channelsE. Kou could use any multi output instrument that you wish. Kou will be asked to confirm whether you want the appropriate number of tracks built for the particular instrument that you have chosen Asee rightE. Click on 0es. '()P(' will now insert the instrument into the F; chain for the original track, name it and arm it for recording. *t will also create all the additional tracks for you. Kou now have a single *D* input track for the SDTi together with four output audio tracks. ?otice that in this e,ample2 Channels %3! from Track % are directed to Track !, Channels 13& to Track 1, Channels P3R to Track & and Channels #36 to Track P. ?o output is sent directly from Track % to the aster. Kou:re now ready to load your instruments Ain this e,ample, select a drum kitE and to start playing.

1.

&. P.

R.

1.

E4a)p/e !: 6epara%e 3171 -rac(s

*f you want a separate *D* track for each SDTi output channel, you should use this method. )gain, for the sake of the e,ercise, we:ll use /ri<<ly, but you would use the same method for any other multi.output synth. %. Create a new track and name it. Bpen the trackIs F; window and add the reHuired SDTi to the trackIs F; chain. !. From the F; chain *p%ions menu choose the command 5ui/d #@ c$anne/s of 3171 rou%ing %o %$is %rac(. 1. Kou now have a separate *D* track for each channel. The

*D* output of each of these %R tracks is sent

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#5 - 3ore REAPER Rou%ing E4a)p/es

to the track on which you originally inserted the SDTi. Kou have a number of options for assisting you with managing this set of tracks. For e,ample, you can put the *D* Tracks in one folder, name the folder, color the tracks and hide them in the i,er. To enable keyboard input for the individual Delect all %R *D* tracks. onitoring button on for all %R tracks. *D* input channel, from % to %R. *D* tracks2 ake sure that the SDTi track is not armed for recording. 'ight.click the 'ecord )rm button and turn *nput For each track, set the

#5.#! Para//e/ F8 Processing 'i%$ %$e 9$anne/ 3i4ers

Parallel F; processing consists of splitting a signal into separate chains and applying different effects separately to these chains, rather than one after another in a single chain. (arlier in this chapter you were introduced to this techniHue, for e,ample with the full fat vocals e,ercise. This section is going to take this idea further, both by allowing more channels and by allowing the pan setting as well as volume level for each channel to be controlled individually. Kou:ll be using the 18 & 3i4er C43-#46 which open up more possibilities for you to split and route your audio thru different channels, then mi, them back at the end to produce some truly creative sounds and effects. The main difference between this mi,er and the one that you used earlier is that this one works with individual mono channels. The e,ample that follows is designed to show you how this mi,er can be set up and used. )fter working thru it, you should be capable of using it for your own pro@ects.

E4a)p/e
*n this e,ample, we will send output from one instrumental track separately to a Distortion F; and a 'everb F;, then mi, the wet and dry signals back together, panning as reHuired G all within one single track and without using any busses. To do this, weIll use the 18 3i4er C43 together with a couple of other plug.ins supplied with '()P('. The diagram above illustrates conceptually what we are going to achieve2 =e will be running the signal in parallel to the two F;. >y doing this, we ensure that each effect is processed separately before being mi,ed. This is different from the normal F; chain, which processes effects seHuentially. %. Bpen the file A// -$roug$ -$e =ig$%.RPP and save it as A// -$roug$ -$e =ig$% 18 318.rpp !. For the purpose of this e,ample, we are going to work on only the 5ouDou(i track. Dolo this track.

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Up and Running: A REAPER User Guide v 4.59

1. &. P. Bpen the 1* window for the 5ouDou(i track. Det the number of track channels to @ then close this window. Bpen the F; window for this track. *f any F; are already there, remove them. *nsert the F; 6: Gui%ar 7is%or%ion. To start with, make the various control settings similar to that shown here Abut see note below+E. =o%e: *n this case, at step P AaboveE you should ad@ust the parameter controls for the plug.in before you open and use the pin connector. This is because you will not be able to hear or monitor any output sent to channels 1 and & until later, when you add the channel mi,er to the F; chain. ake sure that input is from Channels % and ! only and output is to Channels 1 and & only, as shown above. ?ow add ReaVerba%e to the F; Chain for the >ou<ouki. Delect a preset of your choice, ad@ust wet3dry levels as you wish, then set the Butput to Channels P3R as shown right. ?ow insert the 6: 18&3i4er;C43-#46 at the end of the >ou<ouki track:s F; chain. Play the song and e,periment with the volume levels and pan settings for your different channels. (,periment with changes also to the F; settings. Bne suggested possible outcome is shown below. -nsolo the >ou<ouki track. Oower the track fader to blend it back into the mi,. Dave the file when finished.

R. #. 6.

Q.

%".

%%.

Bf course, this is only a simple e,ample. Kou could in effect have up to four separate F; chains running in parallel within this track. )nd itIs very easy then to move an F; from one chain to another, @ust by changing its output channels. The 18 series of $esusonic plug. ins have been developed by Philip D. Considine. ) big thank you to Philip for his help in developing this e,ample.

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#5 - 3ore REAPER Rou%ing E4a)p/es

#5.#A 3ore Para//e/ F8 Processing
The e,ample you have @ust considered demonstrates Parallel F; processing at its simplest. >y e,perimenting with this feature, you can really contour your sounds e,actly as you need to. Kou could for e,ample, add more plug.ins to your chains, and3or use more than R channels. )ll three streams then get mi,ed back together using the Channel i,er Plug.in. Channels % and !2 Dry G the original signal, unprocessed. Channels 1 and &2 Distortion then Compression. Channels P and R2 (F then 'everb.

#5.#4 9$anne/ 6p/i%%ing and Para//e/ Processing 'i%$ 1%e) F8

The e,amples used in this chapter have all involved working with plug.ins within track F; chains. Don:t forget, however, that any individual media item can also contain its own F; chain, specifically assigned to that media item. Per item F; are e,plained fully in Chapter P2 in brief, however, you can select any media item and press 6$if% E to create an F; chain for that item. Provided the track that contains the media item has been assigned the necessary number of channels, channel splitting and parallel processing of F; can be applied to individual media items in e,actly the same way as e,plained throughout this chapter.

#5.#5 *%$er 9$anne/ Rou%ing P/ug-ins E*vervie'F

The list of $esusonic and Cockos plug.ins for '()P(' is an impressive one, and one that is still steadily growing. The following table provides an overview of some of the other channel routing plug.ins that are currently available. Kou should always check the web sites and the forums for the latest information. This section introduces you to some other plug.ins Anot used in these e,amplesE that are specifically designed for use in a multi.channel routing environment. The information below comes from te,t files supplied with these plug.ins by their author, Philip D. Considine. Bbviously, these plug.ins should only be used on tracks which have more than one defined pair of channels.

P/ug-in
18 6'i%c$er

7escrip%ion
This is a channel switching utility. The Butput Dource parameter is used to select which one of up to four paired inputs channel is to be monitored. -seful for )3> comparisons. This is a variation of the Dwitcher switching utility. The Butput Dource parameter is used to select which one of up to four paired inputs channel is to be monitored, and the Oevel faders allow you to ad@ust the gain independently for each pair. -seful for )3> comparisons. This crossfade utility allows you to feed up to four input pairs to two busses then mi, those busses to output channels %W!. The destination for each of the four paired inputs can be set to Bff, ), >, or )W>. 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. Bnly the selected output channels will be modified so, for e,ample, a signal received from inputs %W! and output on 1W& will still be present in its original form at outputs %W!. The *nput parameter is used to select which paired channels are used for the input. The Phase ode can be set to ?o Change, *nvert Oeft Channel Bnly, *nvert 'ight Channel Bnly or *nvert >oth Channels. The output parameter selects the output channels.

18 6'i%c$er !

18 6'i%c$3i4

18 P$aseAd:us%ingRou%er

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Up and Running: A REAPER User Guide v 4.59

#5.#@ REAPERNs Rou%ing 1n%erface
*f you are using multiple track channels, sends and receives Aas do many of the e,amples in this sectionE, then you should consider keeping the 'outing atri, in view. Kou can use your routing matri, to make ad@ustments to any of your sends and receives, or to specify the number of channels reHuired for any track. Dome e,amples are summarised below. 'ight click over any track name Aas shown above rightE to display the TrackIs 'outing =indow and change the number of Track Channels, or to ad@ust the parameters of any Dend or 'eceive associated with that track. 'ight click over the Dend3'eceive signal at any intersection on the 'outing atri, to ad@ust any of the parameters for that Dend or 'eceive Aas shown below rightE. Click over any vacant intersection on the 'outing atri, to create a Dend3'eceive at that point. 'emember, of course, that you can also create, remove and manage sends and receives in the TCP and the CP. *n either case, you can click on any trackIs 1* button to display that trackIs 'outing =indow, or right.click over the 1* button and use the fly out menu to easily add a Dend or 'eceive. -ip: Dends can be copied in the 'outing atri, from one track to another. For e,ample, if you have created a send from AsayE track % to AsayE an effects bus on AsayE track R, then you can create similar sends from other tracks simply by dragging and dropping that send up and down the matri, column. ?otice also that the three different types of send are represented in the 'outing atri, by three different symbols, as shown left. )s shown, from top to bottom these are Pre Fader EPos% F8F, Pos% Fader EPos% PanF, and Pre F8. *n each case, the height of the large thick bar indicates the send volume level. The flow charts in Chapter P will help you to understand the differences between these.

#5.#B 3u/%ic$anne/ -rac( VU 3e%ers

=hen a track consists of more than ! channels, you can choose whether to have all channels or only channels % and ! displayed in the track:s Smeter Atrack panel and mi,er panelE. 'ight.click over the track:s S- meter then choose the command -rac( VU )e%er to access the toggle command 6$o' fu// )u/%ic$anne/ )e%ering Eno% :us% c$anne/s #J!F. *n the e,ample shown here, this option has been disabled for the first of the tracks shown and enabled for the second. This action is also available from '()P(':s main menu, using the -rac(, 3u/%ic$anne/ -rac( 3e%ering command.

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#5 - 3ore REAPER Rou%ing E4a)p/es

#5.#C 6urround Panning 'i%$ Rea6urround

Durround sound production is a comple, topic. *t would be beyond the scope of this -ser /uide to attempt to cover the principles, theory and practical issues that it involves. =hole books have been written on the sub@ect2 you can also consult various web resources, such as 7The 'ecording )cademy:s Producers and (ngineers =ing 'ecommendations for Durround Dound Production8 Aavailable as free PDF downloadE. '()P(':s surround sound production capabilities can be found in three main areas2 %. The ability to record in multichannel format. The method for doing this is e,plained in Chapter 1. !. '()P(':s channel routing capabilities. 1. The 'eaDurround surround panner. Thus, the '()P('.specific issues that you need to be aware of for surround sound production are2

Recording
'ecord each track using the settings most suitable for that track. For e,ample, for a lead vocal you might use a two channel track with a single mono input Aone micE. For a piano, you might record in stereo with two mics. For ambient sounds you might prefer a four channel track with four mic inputs.

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Up and Running: A REAPER User Guide v 4.59

Rou%ing
'()P(' offers you various routing options. For e,ample, you can insert 'eaDurround into each track individually, with each track directly routed to the aster. )nother option is to create sends from all tracks to a single Durround i,ing >us and use a single instance of 'eaDurround there, disabling direct sends from individual tracks to the aster. The former method gives you greater fle,ibility and more control. Kou will also need to set up the necessary routing for your aster outputs to ensure the correct signal flow from your aster to your surround speakers. ) possible e,ample of this for P.% surround sound is shown here ArightE.

Rea6urround
'eaDurround, like any other plug.in, can be inserted into a track:s F; chain from the F; >rowser. Mere we are assuming that you are opting for the method of inserting 'eaDurround into every track. ?ote that2 Kou should place 'eaDurround in the track:s F; chain. Bften you will want this to be at the end of the chain. Mowever, this might not be the case if, for e,ample, you are using a multi.channel delay effect, which most likely you will want to be after 'eaDurround. )fter inserting 'eaDurround, select one of the options from the setup drop down list Aabove leftE. Delect the same option for all tracks. *nput levels and positions can be set and locked. =hen you select a setup, the correct number of output channels are automatically added to the track. *n the e,ample here, P.% surround is selected, so the track is allocated si, channels. *n the e,ample shown below Ane,t pageE, a track with two channels and a mono media item ASo, i,E displays two channel inputs, each with its own faderAwhich can be set to /ain or OF(E as well as solo and mute controls. Double.click on any input to rename it. >ecause P.% surround has been selected, there are si, channel outputs. ?otice that these can be soloed and3or muted in any combination. (ach also has its own fader2 these can be set to /ain or *nfluence. -se the pin connectors on other track F; to direct the outputs of those F; to the various channels, as reHuired. 'efer back thru this chapter for numerous e,amples of selecting F; pin connectors. Kou should also insert 'eaDurround at the end of the aster F; chain. Channel inputs can be positioned by clicking and dragging them across the display. *n addition, there are two further sets of controls in the 'eaDurround window. The three Edi% drop down lists and their accompanying rotaries can be used as controls with any three of the available items shown ArightE. These include Oeft3'ight, >ack3Front, Oow3Migh, >ack Oeft3Front 'ight, Front Oeft3 >ack 'ight, (,pand3Contract, 'otate, OF( Dend, Diffusion Oevel and Diffusion >ias. There is also an option to .oc( inpu% c$anne/ posi%ions and /eve/s. The three hori<ontal 6pace siDe faders can be used to ad@ust the three dimensions of the surround environment, width, depth and height, with the fourth fader acting as a <oom control. -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 1%"

#5 - 3ore REAPER Rou%ing E4a)p/es

The various 1npu%s and *u%pu%s controls can be used to mute, solo and or ad@ust the levels for /ain or Oow FreHuency (ffects AinputsE or /ain or *nfluence AButputsE. *n the e,ample shown here, the Durround Panner has been inserted into a 7normal8 two channel track with a mono recorded media item. The Durround Panner therefore finds G and displays G only two inputs this time. >ecause P.% surround has been selected as the surround mode, the input from the two channels can be directed to the si, channels shown. Dee also Chapter %6, 'endering in Durround Format.

#5.#9 Rou%ing %o&fro) *%$er App/ica%ions 'i%$ Re+ire

)ll of the e,amples that we have looked at up to now have involved routing audio or *D* data within '()P('. =e:re now going to take a look at how your music can also be routed to and from other applications. -sers of 'e=ire will be pleased to know that '()P(' supports 'e=ire A!.RE. 'e=ire is a technology @ointly developed by Propellerhead Doftware and Dteinberg to allow applications to share audio, *D* and synchroni<ation data. )udio and *D* data are transferred between the two applications in real.time, allowing you to use the features in each application as if they were one. 'e=ire functionality is automatically installed along with '()P(' on the BD ;. =indows users need to make sure when installing '()P(' that they have 'e=ire selected and enabled on the 9$oose co)ponen%s page of '()P(':s *nstall wi<ard under Addi%iona/ func%iona/i%y. *n a 'e=ire session, the first application acts as the host, and the second application acts as the slave. The slave receives and sends signals via the host application. '()P(' can be used as either host or slave. For more comprehensive general information and documentation about 'e=ire, visit $%%p:&&'''.prope//er$eads.se&%ec$no/ogies&re'ire& The 'e=ire system uses mi,ers, panels, and devices. i,ers are the host applications which typically do the seHuencing at one end and the final mi,down at the other end. ) device is a dynamic link library that only generates sound but has no user interface of its own. ) panel is a graphical interface for setting the parameters of one device. For e,ample, you might use '()P(' as your mi,er and Propellerhead 'eason as your synthesi<er. *n this case 'eason would provide device and panel to '()P(', which could then send midi commands, sync timing and mi, 'eason:s output into its own effects chains.

For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) 1%%

Up and Running: A REAPER User Guide v 4.59

'e=ire can be used with any trackAsE within a '()P(' pro@ect. Display the track:s F; chain and select 'e=ire from the list of plug.in categories Aleft columnE. This will display Ain the right columnE a list of all 'e=ire enabled applications that have been installed on your computer. Delect the application A7slave8E that you wish to use G for e,ample, this might be 'e=ire )bleton Oive, 'ewire 'eason or Aas in the e,ample shown hereE 'e=ire FODtudio. *n a 'e=ire session, the first application acts as the host and the second application as the slave. The slave receives and sends signals via the host application. Delecting your 'e=ire enabled application will cause the application to be opened. Kou can use 'e=ire to send *D* data to the slave application Aas shown in the e,ample aboveE, to route audio from the slave application into '()P(', or to route *D* data from the slave application into '()P('. >y default, the tempo for both applications is set by the 'e=ire host. Mowever, there is an option in '()P(':s 'e=ire window to allow the slave application to set the tempo. =o%e: '()P(' can be opened in slave mode from the =indows Dtart, )ll Programs menu, or by first opening the host application and by selecting '()P(' as the slave application there. Kou can also Ain both BD; and =indowsE 'e=ire '()P(' to itself by choosing 'ewire '()P(' from the )dd F; window. Further information about using 'e=ire with '()P(' can be found in the '()P(' =iki at : 'i(i.coc(os.co)&'i(i&inde4.p$p&Re+ire

#5.!" 1n%roducing ReaRou%e

'ea'oute is a feature uniHue to '()P(' that offers you other ways of sharing data Aaudio and time with other applications. 'ea'oute is covered in detail in its own chapter, Chapter !%. *D*E in real

-nlock your inner '()P(' with REAPER 4 Un/eas$ed2 1%!

#@ - Au%o)a%ion 'i%$ Enve/opes #@ Au%o)a%ion 'i%$ Enve/opes

#@.# Unders%anding Au%o)a%ion
)utomation is used to ensure that when your tracks are played, recorded changes in such things as volume level or panning can be recalled with the music in real time. )t its simplest, for e,ample, automation can lift the volume of a lead instrument during a particular break or passage, or add a little presence or warmth to the odd phrase here or there on a vocal track, to make it stand out in the mi, a touch more. )n e,ample of a simple envelope Afor SolumeE is shown here. The envelope is in this case displayed below the media item. *n the TCP you can see an envelope panel with its own envelope controls, @ust below the track controls. =hen the track is played, the volume of the track will rise and fall, following the shape of the envelope. *n this second e,ample AbelowE the same envelope is displayed this time not in its own lane but on top of the media item. >oth methods have their advantages and disadvantages. The first makes it easier to work with the envelope, but uses more screen real estate. The second takes up less space, but makes tasks such as editing that little bit trickier. =hether your envelopes are initially created in separate lanes or over the media item will depend on your (diting >ehavior (nvelopes Preference Dettings. '()P(' features two main types of automation G one method uses envelopes alone, whilst the other uses a rather more comple, Aand powerfulE techniHue known as parameter modulation. This chapter will deal with creating and using envelopes. Parameter modulation will be covered in Chapter %#.

#@.!

Au%o)a%ion Enve/ope 3e%$ods

'()P(':s various automation modes essentially make available to you two main ways of using envelopes for automating your pro@ects. These are writing automation and manually creating envelopes. +ri%ing Au%o)a%ion: =hen writing automation, you instruct '()P(' to remember your actions G such as fading a volume control up and down G as your pro@ect is played. These actions are used to create an envelope which is then reproduced when you play back or mi, down the track. There are three different methods that you can use to write such envelopes G write, touch and latch. =eIll get round to e,plaining the differences shortly. 3anua//y 9rea%ing Enve/opes: )s an alternative to using your faders to create envelopes, you can shape them manually. This gives you a very fine degree of control over your pro@ect. Kou can draw your envelope curves freehand, add points to them at will, and use your mouse to manually move these points up or down. (nvelopes created in this way will behave in e,actly the same way as if actual fader movements had been recorded. Trim3'ead mode is used when you are creating or editing envelopes in this way. *f you wish, you can write envelopes in, say, latch mode then edit them in Trim3'ead mode.

=hichever mode is currently selected is displayed on a track:s envelope button. =e:ll e,plore the different automation modes in detail in the sections that follow. >oth have their advantages and you can use any combination of modes on different tracks in your pro@ect. =ith both recorded and manual envelope automation, it is perfectly possible Aand Huite easyE to edit the automation instructions afterwards, or to remove them altogether if thatIs what you want to do. For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) 1%1

Up and Running: A REAPER User Guide v 4.59

#@.A -$e -rac( Enve/opes +indo'

)ny trackIs envelopes can be managed from the Enve/opes +indo' for that track. This is opened by clicking on the trackIs Enve/ope button in either the TCP or CP. Kou can use this window, for e,ample to2 Det the Au%o)a%ion )ode for the track. Create an envelope Ae.g. for Solume, Pan or ute for a track or sendE. To show or hide an envelope from view. To )rm an envelope or Disarm it.

*n addition, this envelopes window includes buttons that can be used for such global options as showing or hiding all envelopes on that track. These issues will be e,plained and e,plored in the pages that follow. The ,ig$/ig$% bo, can be used to help you find what you are looking for more easily. For e,ample, type volume in the highlight bo, and all items whose name includes volume will be highlighted. ?otice also that any plug.ins that have been placed in the trackIs F; chain will also be listed in this window. *n this e,ample, we have 'eaComp. >y clicking on the small J symbols ne,t to the plug.inIs name you can open up a list of plug.in parameters for which you can also create envelopes. =eIll see some e,amples of this soon. Checking the option to 6$o' /as% %ouc$ed F8 para)e%ers on/y can help prevent screen clutter.

#@.4

Avai/ab/e -rac( and 6end Enve/opes

The following are the automation envelopes that by default are available for all tracks and sends. (nvelopes for plug.ins and F; will be discussed later in this chapter. Enve/ope Vo/u)e Pan +id%$ Vo/u)e EPre F8F Pan EPre F8F +id%$ EPre F8F 3u%e 6end Vo/u)e 7escrip%ion )d@usts the volume of the TrackIs Butput, after, for e,ample, any item or track F; have been applied. This sets the level of the signal that is sent to the aster Track. oves the balance pan control more towards the left, right, or dead center2 the signal that is sent post F; from the track to the aster Track. oves the width control more towards the left, right, or dead center2 the signal that is sent post F; from the track to the aster Track. )d@usts the volume of the track signal that is fed to the trackIs F; chain. This is generally eHuivalent to the /ain control that you can find on some desks and mi,ers. Dimilar to Pan control but before track F; or track faders are applied. Dimilar to =idth control but before track F; or track faders are applied. This envelope has effectively only two states G Bn and Bff. *t is used to mute passages of a track. )d@usts the volume of the track signal that is sent to the destination track. (,actly how this is applied will in part be determined by whether the Dend itself is defined as Post Fader APost PanE, Post F; or Pre F;. )d@usts the panning of the track signal that is sent to the destination track. (,actly how this is applied will in part be determined by whether the Dend itself is defined as Post Fader APost PanE, Post F; or Pre F;. This envelope has effectively only two states G Bn and Bff. *t is used to mute passages on a send. -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 1%&

6end Pan

6end 3u%e

#@ - Au%o)a%ion 'i%$ Enve/opes

#@.5 +ri%ing Au%o)a%ion

To create automation envelopes using the +ri%e feature, use this method2 *n the CP or TCP, click on the Enve/opes button Ashown rightE to open the envelopes window for that track. ?otice that the envelope button displays the currently selected automation mode for that track. *n the e,ample shown, this is Trim. Delect the item you wish to automate, and make sure to also select the options Visib/e and Ar). Det )utomation mode to +ri%e. Close the (nvelopes window. Position the (dit Cursor where you wish to start. Play the song. )s you do so, ad@ust the on screen control which controls the parameter that you are automating. Dtop play when finished. 'ight click over the (nvelope button for that track and select -ri)&Read or Read. Play the song. Oisten and look+ *f you selected Read mode, the faders will move up and down as the automation is applied. ?ote that if you prefer, instead of opening the envelopes window, you can right.click on the track:s envelope button and make your choices from the conte,t menu Asee rightE. -ip: -sing Vo/u)e and Pan envelopes on tracks is such a common activity that the shortcut keys V and P are by default assigned to toggle the display of these two envelopes.

Au%o)a%ion +ri%e E4a)p/e

%. Bpen your file A// -$roug$ -$e =ig$%.RPP. Dave it as A// -$roug$ -$e =ig$% AU-*.RPP. =e are going to add an automation envelope to the >ou<ouki track to fade this track up a little in the passage between the first and second verses of this song. !. -se your mouse to increase the height of the 5ouDou(i track. This isnIt absolutely necessary, but makes it easier to see what you are doing.

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Up and Running: A REAPER User Guide v 4.59

1. *nsert the 62 U%i/i%y&.i)i%er plug.in to the master track and set its threshold to O!.". This is a precaution against clipping. Position the play cursor @ust before the end of the first vocal passage at about the &" second mark. &. ?ow click on the Enve/opes&Au%o)a%ion button for the 5ouDou(i track. Delect Vo/u)e and make it both Visib/e and Ar)ed. Delect the automation mode +ri%e for this track Asee aboveE. P. Close the (nvelopes window. ?otice that the Solume fader for this track is now colored red and a Solume envelope has been created. The (nvelope button now reads +ri%e. R. Play the song from about the &6 sec mark for about %P seconds. #. )s the instrumental break starts, use your mouse to raise the track fader for the >ou<ouki volume Anot the envelope volume faderE by about a three decibels. Mold it there, then at the end of the instrumental break lower the fader to its original position. Dtop play. 6. 'ight click over the (nvelope button for the >ou<ouki track and choose Au%o)a%ion 3ode: Read from the conte,t menu. Toom closely into the part of the song that goes from about &P secs to about RP secs. Q. The fader area for the Solume control from this track will now be green, and your automation envelope should be clearly visible Asee rightE. %". Play the song. The volume fader for your bou<ouki will automatically move up and then down in accordance with the movements that you recorded. Dave this file. =o%e: Kou do not need to select )utomation 'ead mode in order for the automation to take effect. Trim3'ead for e,ample mode will also do this, but without moving the faders. That:s because during Trim3'ead mode you might wish to make manual ad@ustments yourself, using the faders. KouIll find a more detailed e,planation of the various automation modes later in this chapter.

3odifying %$e Enve/ope

*tIs very likely that you wonIt get the e,act settings for your automated faders %""L correct first time. To fi, this, either use )utomation -ouc$ mode to write changes to your envelope, or edit the envelope by hand.

#@.@

Enve/ope Poin%s *p%ions

'ight click on the envelope button on the main toolbar for a number of options that will help determine envelope behavior. These are also available on the *p%ions menu AEnve/ope poin%s commandE. The option to 3ove enve/ope poin%s 'i%$ )edia i%e)s should be enabled if you wish an envelope to follow its media item when that item is moved. >e careful how you use Enve/ope poin% se/ec%ion fo//o's %i)e se/ec%ion. This enables you to move all points within a time selection by clicking and dragging on any one of them. *f you want to move only one point Aor a selection of pointsE within a time selection, make sure that this option is disabled. Edge poin%s can be used to make it visually easier for you when you are moving a group or selection of envelope points. The option to Reduce enve/ope poin% da%a '$en recording or dra'ing au%o)a%ion should be enabled if you find that '()P(' is creating more points than you want when, for e,ample, you write automation data, using either your mouse or a control surface.

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#@ - Au%o)a%ion 'i%$ Enve/opes

-o reduce %$e nu)ber of poin%s on an e4is%ing enve/ope %$a% $as a/ready been recorded: %. !. 1. &. P. R. #. Delect Aclick onE the envelope. Define the reHuired time selection. )ll envelope points in that selection will be selected. 'ight.click over the envelope. From the menu, choose Reduce =u)ber of Poin%s. Delect AprobablyE Poin%s in %i)e se/ec%ion on/y or ApossiblyE A// Poin%s. )d@ust the fader until the number of points shown looks about right. )n e,ample is shown on the right. Click on *H.

#@.B

+ri%ing 3u%e Au%o)a%ion

Bne rather special way of using automation is in con@unction with a trackIs 3u%e button to automatically mute unwanted passages of a track. The procedure for doing this is outlined below2 Click on the trackIs Enve/opes&Au%o)a%ion button to display the envelopes window. Delect the 3u%e envelope and set the mode to +ri%e. Then close the (nvelopes window. The (nvelopes3)utomation button will read +ri%e and the armed mute button will be highlighted in red. ?otice AaboveE how this is displayed when set to this mode. ?ow play the track. )s you do so, click on the trackIs that you reHuire to be muted. ute button at the start and end of any passages

=hen finished, stop the playback. )utomation mode for this track should automatically change to Trim3'ead Aunless this default setting has been changed in your (diting >ehavior, )utomation preferencesE.

*n the e,ample shown below, a vocal track is muted when it is not intended to be heard. Read mode has been selected. =hen the track is played back, the color of the ute button changes for the duration of the muted passages.

#@.C

Au%o)a%ion 3odes

)utomation mode can be set as already shown from inside the (nvelopes3)utomation window or by right. clicking on the track envelopes3automation button. *n fact, there are a number of ways that this can be done2 Delect the reHuired mode from the (nvelopes window. 'ight.click on the (nvelopes3)utomation button and select the reHuired mode from the conte,t menu. *n the TCP, right click over any automation lane and select the reHuired mode from the conte,t menu. From the main menu, choose -rac(? 6e% %rac( au%o)a%ion )ode Aor right.click over the track number and select this from the conte,t menuE.

The following table summari<es the five available automation modes.

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Up and Running: A REAPER User Guide v 4.59

Au%o)a%ion 3ode -ri)&Read 7escrip%ion (,isting envelopes are applied, but on.screen controls do not move. Trim3'ead mode might seem strange at first, but it does bring you a useful benefit. Kou can use a trackIs controls for overall changes. *n Trim3'ead mode fader movements are not recorded. For e,ample, ad@usting a trackIs Solume fader in this mode will raise or lower the volume for the whole track relative to the envelope. )pplies envelopes and moves controls for armed items, but does not write or remember any changes that you make to them. =rites and remembers any changes that you make to settings, and creates new points on e,isting track envelopes. Changes commence when you first ad@ust a setting, and continue to be remembered until playback stops. This is similar to Oatch, but stops making changes to envelope points when you stop ad@usting them. *f using a *D* controller, however, you may find that Touch mode functions in the same way as Oatch mode. =rites and remembers current settings as edit points, along with any changes that you make to settings for armed items during playback. *n this mode, previously written envelopes for armed items will be over written. '()P(':s )utomation preferences include an option to automatically switch to another mode immediately after recording automation in =rite mode. >y default, it will switch to Trim3'ead.

Read .a%c$

-ouc$

+ri%e

?ote that when you are in Oatch, Touch or =rite mode, an envelope can also be armed by clicking on the Ar) Record button in its automation lane Awhere one e,istsE. 'emember also after using =rite, Oatch or Touch mode to change to 'ead or Trim3'ead mode, to prevent further automation from being accidentally recorded.

#@.9

G/oba/ Au%o)a%ion *verride

The /lobal )utomation Bverride button on the far left of the transport bar can be used to set certain options for your envelopes globally. 'ight click on this button to display the menu which can be used for two main purposes. These are2 To toggle bypass on3off for all envelopes. To select a single automation mode Asuch as Trim3'ead or 'eadE for all tracks. Toggle display of all active envelopes. ) global option can be removed by the =o g/oba/ override command. (ach track will then be returned individually to its former state, with its previous individual automation mode and bypass settings restored.

#@.#" -$e Enve/ope Pane/ 9on%ro/s

The envelope panel:s hori<ontal fader is used to write automation Awrite, latch or touch modesE, show automation changes Aread modeE or ad@ust the parameter value for the entire track or selected envelope segment Atrim3read modeE. =hen a track has other envelopes that are not displayed in lanes, you can click on the envelope name Ain the e,ample shown this is SolumeE and choose from the list a different envelope to display in its place. Bther standard controls are the 5ypass toggle button and ne,t to that the ,ide&9/ear button which can be used to either hide an envelope or clear it altogether. For F; parameter envelopes there may also be some additional controls, for e,ample to enable parameter modulation or learn mode for that parameter Asee later in this chapter and Chapter %#E. -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 1%6

#@ - Au%o)a%ion 'i%$ Enve/opes

#@.## 3anua//y Ad:us%ing Enve/opes
)s an alternative to writing automation to define and shape your envelopes, you can use your mouse directly within the envelope lane. This is especially useful, for e,ample, when you can see from observing the waveform that there is a peak that needs ad@usting. )mongst the actions that you will commonly use for this are2 6$if% 9/ic( for adding points to an envelope. 9%r/ 9/ic( 7rag for freehand drawing of envelope points and curves. 9/ic( 7rag for moving envelope segments freely up or down or envelope points in any direction. The first of these actions is e,ecuted by holding 6$if% while clicking on the envelope, the third by simply clicking. These can be swapped in your ouse odifier A(nvelope segmentE preferences if you wish. *n this e,ample, we will assume that 9/ic( 7rag is used to ad@ust segments, and 6$if% 9/ic( to add points. *n the e,ample that follows, you will use the mouse to raise the volume of your >ou<ouki volume envelope a little for the duration of the short instrumental break that occurs between the second and third verses. Kou will then draw an automation curve over part of the vocal track. This e,ample assumes that the default mouse editing behavior settings are as shown above.

E4a)p/e
%. Mover your mouse over the envelope, @ust before the start of the second instrumental break. This will be at or near % min 1R seconds. The mouse will change to a vertical double. headed black arrow. !. Mold 6$if% while you click the mouse on the envelope to create a point. 1. 'epeat this three times as shown ArightE, so that you have two points @ust before the instrumental break and two points @ust after it. &. ?ow hover the mouse anywhere between the second and third point. Click and hold down the mouse, then drag upwards to raise the volume of this envelope a little, as shown in the second illustration. P. Dave this file. R. Display the track:s (nvelope =indow and make sure that automation mode for this track is set to Read and that the Vo/u)e envelope is selected and set to Visib/e and Ar). #. Play back the song. 6. ?otice that the >ou<ouki volume will now be faded up for both instrumental passages in this song and down after them. Q. ?ow select the Vo4 track and press V to display the Solume envelope for this track. Toom to the passage from about % min " sec to % min %Q secs. =e are going to make this passage a little louder. %". Mover the mouse @ust above the envelope at %2"". Mold down the 9%r/ key. The mouse cursor will change to a pencil. Dtill holding 9%r/ drag the mouse along to about the %2%Q mark Asee above rightE then release the mouse. The volume envelope will have been drawn by this action. %%. 'emember that any e,cessive points that have been inserted by this action can be removed Aas in the earlier e,erciseE using the Reduce nu)ber of poin%s command. %!. Dave the file.

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Up and Running: A REAPER User Guide v 4.59

#@.#! Using %$e 3ouse 'i%$ Enve/opes
The above e,ercise has introduced you to some e,amples, but there are many other techniHues and mouse tricks that can be used for manipulating and managing envelopes and their nodes. This table is a summary of the most important. For a fully comprehensive list, consult the ouse odifiers page of your Preferences. 1n order %o do %$is ... 6e/ec% a// poin%s on enve/ope inside %i)e se/ec%ion. 7ra' and s$ape enve/ope in free$and )ode. Add a poin%. 7e/e%e enve/ope poin%. 6e/ec% )u/%ip/e enve/ope poin%s. 6e/ec% a// poin%s in an enve/ope. 6e/ec% a// poin%s 'i%$in %$e /asso area. >.you need %o do %$is 9/ic( and drag in envelope lane Anot on envelope itselfE to create time selection. 9%r/ 7rag anywhere on, above or below the envelope 6$if% 9/ic( on envelope A/% 9/ic( on any envelope point Mold 9%r/ while clicking on envelope points one at a time 9/ic( on any point in an envelope, then press Ctrl ) 9/ic( on a point, then use the 'ight.Click.Drag mouse method to lasso A)arIueeE a portion of an envelope. 'elease mouse =hen you have several points selected, rig$% c/ic( over any selected point 9/ic( and drag any point in the selection. 9%r/ A/% 7rag on any envelope point 9/ic( and hold )ouse on any envelope point, hold both the 9%r/ and 6$if% keys while then dragging any envelope point either vertically or hori<ontally. 7oub/e-c/ic( on envelope point

App/y an enve/ope co))and %o a se/ec%ion of poin%s. 3ove a poin% or se/ec%ion of poin%s free/y. Fine/y ad:us% a poin%<s ver%ica/ posi%ion. A//o' an enve/ope poin% %o be )oved ver%ica//y or $oriDon%a//y on/y. Rese% poin% %o cen%er Edefau/% va/ueF.

ost of these defaults can be changed in your Edi%ing 5e$avior? 3ouse 3odifiers preferences settings.

#@.#A Enve/ope Edi% 3ouse 3odifiers

This probably won:t be the very first thing you:ll want to do, but after you have been working with envelopes for a while you might wish to consider changing some of the default mouse modifier settings so as better to suit your personal workflow reHuirements. There are several conte,ts relevant here G (nvelope lane Aleft clickE , (nvelope segment Aleft dragE, (nvelope point Aleft dragE, (nvelope segment Adouble.clickE and (nvelope point Adouble.clickE. For e,ample, if you manually add points to envelopes a lot, you might wish to consider changing the default behavior for (nvelope double.click from 'eset point to default value to the action (nvelope2 *nsert new point at current position. *f hori<ontal ad@ustment of envelope points is important to you, consider assigning ove envelope point hori<ontally as one of your envelope point modifier instead of @ust ove envelope point. )lso, by default, double.clicking on an envelope:s control panel will cause all points on the envelope to be selected. This too can be changed. There:s more about mouse modifiers in Chapter %1.

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#@ - Au%o)a%ion 'i%$ Enve/opes

#@.#4 3anaging Au%o)a%ion Enve/ope 7isp/ay
'()P(' offers you a fle,ible range of options to determine how you display your automation envelopes. For any track or track you can choose to2 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 Mide all automation envelopes. *n the e,ample shown here, a track is displaying three envelopes. G one each for Pan, Track Solume and the volume of a send to a reverb track. Bne of these G Pan G is displayed on top of the actual media items. The other two each have their own lanes. The Peaks3=aveforms preferences option to 7ra' fain% pea(s in au%o)a%ion enve/ope /anes has been enabled. The summary table e,plains how you use these options.

Kou should also check the preference A(diting >ehavior, )utomationE +$en adding vo/u)e&pan enve/opes? app/y %ri) %o enve/ope and rese% %ri). Kour safest option is to set this to =ever to ensure that the envelope will be placed in the vertical center of the automation lane, thus leaving adeHuate room both above and below the envelope for manual editing.
1n order %o do %$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 J *n the envelope panel, click on the ,ide&9/ear button and choose ,ide Enve/ope. 7isp/ay a curren%/y $idden enve/ope 9$ange %$e enve/ope disp/ayed in a par%icu/ar /ane 3ove an enve/ope fro) i%s o'n /ane %o over %$e )edia i%e)EsF Click on the Enve/opes&Au%o)a%ion button in the TCP and check the Visib/e bo, for that envelope. *n the TCP, right click over the envelope name and choose another parameter from the list. 'ight click over the envelope and disable the 6$o' enve/ope in /ane option, or J Click on the ,ide&9/ear button in the envelope panel and choose 3ove %o )edia /ane. 'ight click over the envelope and enable the 6$o' enve/ope in /ane option *n the TCP, right click over the envelope button and choose 6$o' a// visib/e %rac( enve/opes %o enve/ope /anes from the menu. *n the TCP, right click on the envelope button and choose 6$o' a// visib/e %rac( enve/opes %o )edia /ane from the menu.

3ove an enve/ope fro) over %$e )edia i%e) %o i%s o'n /ane 6$o' a// visib/e enve/opes in individua/ /anes 6$o' a// visib/e enve/opes over %$eir )edia i%e)EsF

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Up and Running: A REAPER User Guide v 4.59

1n order %o do %$is > 6$o' a// ac%ive enve/opes > you need %o do %$is *n the TCP, right click over the envelope button and choose 6$o' a// ac%ive %rac( enve/opes, or J Bpen the Enve/opes&Au%o)a%ion 'indo' and click on 6$o' a// ac%ive. ,ide a// enve/opes *n the TCP, right click over the envelope button and choose ,ide a// %rac( enve/opes, or J Bpen the Enve/opes&Au%o)a%ion 'indo' and click on ,ide a//. =hen you open the (nvelopes window, all potential envelopes for that track are listed. The active envelopes are those displayed with a check mark against their name. Kou can think of a potential envelope as being one that is lurking invisibly in the background but has not been activated, whereas an active envelope is one that you have chosen to use. *n the e,ample shown here, this track could have up to ten envelopes, one for each of the items listed. Mowever, it actually contains only three active envelopes, one each for Solume, Pan, and Track R Dend Solume. Bf these, we have chosen to make only the first three visible. *f we were to add some plug.ins Asuch as Delay, (F or compressionE to this track we would immediately create more potential envelopes.

#@.#5 -$e Enve/ope Pane/ 9on%ro/s

)n envelope displayed in a lane can have its behavior and characteristics modified from within the TCP, using its fader, its buttons and its conte,t menu. For e,ample2 *n -ri)&Read mode, use the hori<ontal fader to raise or lower envelope for its entire length or for a particular time selection. For e,ample, with no time selection active, sliding a pan envelope:s fader control left would cause panning for the entire track to be moved further to the left Amaintaining the relative movement between e,isting pointsE. *f a time selection is active, then the envelope would be ad@usted only within that time selection. -se the 5P button to toggle bypass on and off.

'ight clicking over the envelope name in the TCP produces a menu which includes the following2 ) list of all available envelopes for this track Astandard track and send parameters plus any F; parametersE. Choose one of these to change the envelope displayed in this lane. Sarious show3hide envelope options. ) list of automation modes2 this is one way to change a track:s automation mode.

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#@ - Au%o)a%ion 'i%$ Enve/opes

#@.#@ 3anaging and 3anipu/a%ing Enve/opes
The (nvelope Point and (nvelope Degment right.click conte,t menus both contain commands and options that are there to help you manage and manipulate your envelopes. =hich of these two menus will appear depends on whether your mouse is hovering over an actual point or over a segment when the right button is clicked. *n the table below, those commands which are on the (nvelope Point menu only are indicated by A PF. 9o))and 6e% poin% va/ue > EPF E4p/ana%ion Displays the 6e% Enve/ope Poin% Va/ue dialog bo,. Can be used to changes the value, position, and3or shape of the current point.

Bptionally, you can assign 7oub/e 9/ic( Aunder Preferences, odifiers, (nvelope PointE to *pen enve/ope poin% edi%or. 6e% poin% s$ape EPF

ouse

Changes the shape of the current point. The si, available shapes are Oinear, DHuare, Dmooth, Fast Dtart, Fast (nd and >e<ier. These are e,plained in more detail shortly. )llows you to choose a shape for multiple envelope points. The si, available shapes are Oinear, DHuare, Dmooth, Fast Dtart, Fast (nd and >e<ier. These are e,plained in more detail shortly.

6e% s$ape for se/ec%ed poin%s

6e% enve/ope defau/% poin% s$ape

Dets shape for future points. The si, available shapes are Oinear, Dmooth, Fast Dtart, Fast (nd, DHuare and >e<ier. These are e,plained in more detail shortly.

6e/ec% a// poin%s Unse/ec% a// poin%s 6e/ec% a// poin%s in %i)e se/ec%ion 9opy poin%s

Delects all points in current envelope. -nselects all points in current envelope. *f a time selection is currently active, all points on this envelope that fall within the time selection will be selected. Copies all points in current selection into clipboard. =o%e: To apply a command to an e,isting selection of envelope points, you should hold 6$if% while you right click over the envelope. This ensures that the selected points remain selected when the conte,t menu is displayed.

9u% poin%s 7e/e%e poin% EPF 7e/e%e se/ec%ed poin%s 7e/e%e poin%s in %i)e se/ec%ion

Cuts all points in current selection into clipboard. Deletes the envelope point. Deletes all envelope points in current selection. *f a time selection is currently active, all points that fall within the time selection will be deleted. Dhown here is a selection of points before and after using this command.

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9o))and E4p/ana%ion

1nver% se/ec%ed poin%s

Causes all selected points to be inverted relative to their neutral position. For e,ample, a point on a Pan envelope set at P"L left would be changed to P"L right. =ith items such as Solume which use a logarithmic scale, the calculation is less obvious. Dets all selected points back to a neutral position. Dhown here is a selection of points before and after using this command.

Rese% se/ec% poin%s %o Dero&cen%er

Reduce nu)ber of poin%s >

)llows you to reduce the number of envelope points within a time selection or for the whole envelope. This has already been e,plained in detail. Toggles armed status of envelope on and off. ) toggle command which moves the envelope into or out from its own envelope lane. Mides the envelope but keeps it active. Toggles an envelopeIs bypass status. Clears all points on an envelope, restores it to a straight hori<ontal line. Kou will be asked if you wish also to remove the envelope.

Ar) enve/ope for recording 6$o' enve/ope in /ane ,ide enve/ope 5ypass enve/ope 9/ear or re)ove enve/ope ...

#@.#B Enve/ope 6$apes

(nvelopes can be any of si, shapes G .inear, 6Iuare, 6/o' 6%ar%&End, Fas% 6%ar%, Fas% End or 5eDier. To change the shape of an e,isting curve, right click over the envelope point, then choose 6e% Poin% 6$ape, then the reHuired shape from the menu. The e,amples below illustrate the different shapes2

Oinear

DHuare

Dlow Dtart3(nd

Fast Dtart

Fast (nd

>e<ier

Dhapes other than DHuare are usually best used for graduated parameters, such as volume and pan. DHuare envelopes are best used for items with on3off parameters Asuch as bypass or muteE, to ensure an e,act transition at the reHuired point. Kou can specify your preferred default envelope point shape type from the *p%ions? Preferences? Pro:ec%? -rac(&6end 7efau/%s window, as shown on the right.

#@.#C Enve/opes in -rac( -e)p/a%es

=henever you save a track Aor selection of tracksE as a track template A-rac(? 6ave %rac(s as %rac( %e)p/a%e commandE there is an option in the dialog bo, to 1nc/ude enve/opes in %enp/a%e.

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#@ - Au%o)a%ion 'i%$ Enve/opes

#@.#9 Enve/ope Preferences
'()P(':s envelopes preferences fall into several different categories within your *p%ions? Preferences window. These are e,plained in more detail in Chapter %Q. eanwhile, it:s worth taking note of the following. The Appearance pages of your *p%ions? Preferences window includes a number of useful options for determining how your envelopes are presented on screen. Turning these options on can improve clarity. *n particular, pay attention to the options to2 Dhow solid edge on time selection highlight A)ppearance pageE. the boundaries of the time selection more obvious. akes

Dhow guide lines when editing A)ppearance pageE. Facilitates editing. Draw faint peaks in automation lanes APeaks3=aveforms pageE. Melps to relate an envelope:s position in its own lane to the track:s volume level. Fill automation envelopes A)ppearance pageE2 this faintly colors the area below the envelope.

The Edi%ing 5e$avior? Enve/opes page is another important place to go to. *t gives you the option, for e,ample, to Au%o)a%ica//y add enve/opes '$en %'ea(ing para)e%ers in au%o)a%ion 'ri%e )ode . This enables you to create envelopes on the fly without having to select the reHuired parameters from any menu. >e careful when enabling this2 you can end up with any number of envelopes that you didn:t want+ Finally, a number of the options on the Pro:ec%? -rac(&6end 7efau/%s have something to say about envelopes. These include2 =hether to have any envelopes Asuch as Pan and SolumeE automatically displayed for all new tracks. Kour choice of default envelope shape for new points. Kour choice of default automation mode for new tracks. =hether new envelopes are to be automatically armed.

#@.!" Using an Enve/opes -oo/bar

Chapter %1 e,plains in step by step detail how to create custom toolbars. *f you work a lot with envelopes then this is one area where you can achieve real productivity benefits. Dhown here is an e,ample of a simple (nvelopes toolbar that you could create. Oisted below are the actions attached to each of the icons in the e,ample shown. )utomation2 Det track automation mode to trim3read )utomation2 Det track automation mode to write )utomation2 Det track automation mode to touch )utomation2 Det track automation mode to touch3read (nvelope2 *nsert & envelope points at time selection (nvelope2 Delete all points in time selection (nvelope2 Clear envelope (nvelope2 -nselect all points (nvelope2 Toggle display of all visible envelopes in lanes for tracks (nvelope2 Dhow all envelopes for all tracks (nvelope2 Mide all envelopes for all tracks (nvelope2 Dhow all envelopes for tracks (nvelope2 Mide all envelops for tracks /lobal automation over.ride2 ?o over.ride Aset automation modes per trackE /lobal automation over.ride2 )ll automation in trim3read mode /lobal automation over.ride2 )ll automation in read mode Ceep in mind that this is only an e,ample. The same commands and actions that are most useful to one person might not also be most useful to another. *n the end, you must decide for yourself.

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Up and Running: A REAPER User Guide v 4.59

#@.!# Au%o)a%ion +i%$ Grouped -rac( Para)e%ers
*f you have created track groupings in which you have defined relationships between various parameters, you can ensure that those relationships are maintained Aor not, as you wishE when automation envelopes are being written. This is done using the group Au%o)a%ion 3ode column on the Track /rouping atri,. )s when the 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. Mere are e,amples. *n each case, the grouping is similar to that used in the e,ercise file A// -$roug$ -$e =ig$% -GR*UP6.RPP. *f you completed those e,amples it might help you to open that file now.

E4a)p/e
*n this e,ample, both of the guitar tracks are set to act as both master and slave in automation mode and both volume envelopes are armed Aindicated by the colored circular button to the left of the envelope name, SolumeE. Kou can set either track to write, touch or Aas in this e,ampleE latch mode and the other will change with it. )ny automation movements will then be written to both tracks. The effect of this is shown here.

Mad the automation envelope been armed on only one of the tracks then the automation would have been written to that track only and not to the other.

#@.!! 3oving and 9opying Enve/opes 'i%$ 1%e)s

Kou can choose whether or not to move and copy automation envelopes with media items by setting the option to 3ove enve/ope poin%s 'i%$ )edia i%e)s on or off. This is accessed by right clicking on the (nvelope tool on the main '()P(' toolbar, or by choosing Enve/ope poin%s from '()P(':s Bptions menu. Kou can use the )ctions editor to assign a shortcut key to toggle this action on and off. *f this option is turned off, then envelopes will not be moved or copied with the media items. *f this option is turned on, then the envelopes will be moved or copied with the media items. )n e,ample of this is illustrated on the right. ) selected portion of the media item on the top track is being copied to the track below it using the 9%r/ drag and drop method. Kou can also specify whether or not you want to Add edge poin%s Anew envelope points at the start and end of the time selectionE when the item is being moved or copied. ?otice that not only is the envelope copied with it, but also that because the option to show guidelines is also on, there are guide lines displayed which can help you when positioning the item that you are copying.

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#@ - Au%o)a%ion 'i%$ Enve/opes

#@.!A Au%o)a%ion 'i%$ -rac( 6ends
)utomation can be applied to other controls beside Solume and Pan, such as Dends and F; parameters. *n this e,ample, we will create a Dend, then use an envelope to control it.

E4a)p/e
%. First, we are going to create an F; >us Track, then we will use an envelope to vary the level sent to that F; >us Track from each of the guitar tracks. Create a new track and name it F8 5us. Display the F; Chain for this track, and add the F; $D /uitar3chorus. Close the F; window. Delect the track G%r 5ody and display the 1* routing for this track. Create a send to the F; >us and set send volume and pan levels as shown AaboveE. Delect the track G%r =ec( and display the 1* routing for this track. Create a send to the F; >us as a send and set send volume to G%"d> and pan to RPL 'ight. ?ow display the (nvelopes window for the G%r 5ody track. Det the mode to -ri)&Read. ?otice that envelopes are available for your sends. ake sure that F8 5us 6end Vo/u)e is selected, visible and armed. Close this window. )n envelope lane for this send should now be visible on the G%r 5ody track. Mover the mouse over any part of the envelope, click and drag down until the envelope is set to about G%!d>. =e are now going to increase the chorus effect, starting @ust before the second verse. )dd a point at about the R" second mark ADhift ClickE. )dd another point at about !21".

!.

1. &.

P.

R.

#.

6. Q.

%". Mover the mouse over the envelope @ust after this second point. Mold 9%r/ A/% while you drag up until the envelope is set to about G#d>. 'elease the mouse. This is shown below.

%%. Det automation mode for this track to Read. Play the song. *f you think the Chorus effect is too much, hover the mouse over the envelope, round about % minute 1" secs, then click and hold the left mouse button while you drag the envelope back down a little. %!. ?ow repeat steps P. to %". for the track G%r =ec(. %1. DonIt forget to save the file.

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Up and Running: A REAPER User Guide v 4.59

#@.!4 Au%o)a%ion 'i%$ F8 Para)e%ers
Kou can create automation envelopes for any parameters for almost any $D, SDT, SDTi, D; or D;i plug.in that has been added to any trackIs F; chain. For e,ample, you can use automation envelopes to vary the level of compression applied to a drum track, or to add more warmth to a vocal take at those times when it is needed. There are three main ways of creating envelopes for your F; parameters2 Delect those parameters for which you wish to add envelopes from the (nvelopes window. Kou may need to click on the small J button ne,t to a plug.ins name to display a list of its automatable parameters. 'ight click over background area of any e,isting envelope lane in the TCP and select the reHuired item from the F; parameters window. )ll automatable parameters for all plug.ins in the trackIs F; chain will automatically be added to the menu Asee rightE. The third method is to create the parameter envelope from within the plug.ins own window This is probably the most useful method because in many cases, this will be the environment in which you are likely to find yourself working when you decide that you would like to create the envelope. The standard procedure for doing this is Huite simple2 %. Touch the parameter for which you want to create an envelope with your mouse. !. Click on the Para) button. 1. Choose 6$o' %rac( enve/ope from the menu. ost F; can be automated in this way, but be warned that especially with some older plug.ins this might not be possible.

E4a)p/e
%. Bpen the F8 9$ain window for the track Vo4. !. )dd the 6 .*6ER&45andEP to this chain. Det the first FreHuency level to %6" Aas shownE. 1. Dolo the Vo4 track and play the song. &. )s you do so, hold down the A/% key and gently increase the Oow volume level Athe top faderE. ?otice how the sound changes and becomes warmer. 'elease the mouse, and the level will snap back to ".". P. =e are going to add an automation envelope to increase this level for the phrase )ll Through The ?ight at the end of the song, from about the !2%& mark. This will warm up that phrase, but also make it louder. Therefore, we will also need to add use another envelope to lower the volume to compensate. R. )d@ust the hori<ontal and vertical <ooms of the So, track, so that you can clearly see the area that you are working with. #. Click on the .o' d5 fader in the (F then click on the Para) button. Choose 6$o' %rac( enve/ope from the menu Asee rightE. The envelope will be shown. -nless you have changed the default preferences, this will be shown in its lane. 6. ark the time selection from about !2%& to the end of the song. -se the slider for this parameter Ain the TCPE to raise the level of this envelope by about R d>. -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 1!6

#@ - Au%o)a%ion 'i%$ Enve/opes

Q. =ith the time selection still active, use this same techniHue to lower the fader for the volume envelope by about ! d> Asee rightE. %". Play the file. Dave it. -ip: Kou can automatically create an envelope for any F; parameter ad@usted during playback. To do so, enable the Preferences? Edi%ing be$avior? Au%o)a%ion option Au%o)a%ica//y add enve/opes '$en %'ea(ing para)e%ers in au%o)a%ion 'ri%e )odes, then set track automation mode to touch, latch or write.

#@.!5 F8 Para)e%er Au%o)a%ion in .earn 3ode

*f you are using '()P(' with a control surface, such as a >ehringer >C'!""", you can use it in =rite, Oatch or Touch mode to create automation envelopes for F; parameters. Kou can use the deviceIs rotaries, faders or buttons Aas appropriateE for this purpose. (ach device is different, but here is an e,ample2 %. =ithin the plug.in window, click on the parameter, then on Para) then on .earn. !. Tweak the button, knob, or fader on the control device. ) confirmation message such as that shown here will appear in the Command filed ArightE. 1. Delect a CC mode2 usually this will be absolute or relative. Consult the device:s documentation2 if in doubt, try Abso/u%e to begin with. For smoother operation, choose 6of% %a(eover. Toggle mode is also available2 this allows F; parameters to be toggled on3off with a single mapping. &. Bptionally, select Enab/e on/y '$en effec% configura%ion is focussed . This allows you to assign the same control to another parameter in a different plug.in. P. =hen the 3171 .earn dialog bo, is shown, tweak the control on the e,ternal device, select the option Ar) enve/ope for se/ec%ed para)e%er and click on *H. Depending on the parameter Kou can now use the control device to write your parameter changes to the envelope during pro@ect playback. *n Trim3'ead mode you can still use the control device to manually ad@ust the parameter . see Chapter %%.

#@.!@ Au%o)a%ing a V6- 'i%$ 3171 99 3essages

Depending on what gear you have, there are two other further methods you can possibly use to send *D* CC messages to automate a SDT:s parameters2 %. Dend *D* CC from a *D* source Asuch as a *D* keyboard controller, a *D* track, 'eaControl *D*, or an F; which outputs *D* CC messagesE directly to the SDT. *n some SDTs *D* CC messages are hard. wired to specific controls Ae.g. OinPlug:s )lphaE, in others Ae.g. )mpliTube, DampleTank ! and ContaktE the mapping is assignable. !. Dend *D* CC from a *D* source to 3171%oRea9on%ro/Pa%$ E6]3F. This in@ects the *D* CC messages into the 'eaper automation path and onwards to a track SDT Parameter (nvelope for which *D* Oearn has been used to map the CC message to that envelope. To learn more about Aand downloadE this plug.in, go to foru).coc(os.co)&s$o'%$read.p$pX%[4AB4#.

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Up and Running: A REAPER User Guide v 4.59

#@.!B Au%o)a%ing F8 Para)e%ers on %$e F/y
*f you turn on the (diting >ehavior, )utomation preferences option to Au%o)a%ica//y add and ar) enve/opes '$en %'ea(ing para)e%ers in au%o)a%ion 'ri%e )odes, then for any track set to write, latch or touch an automation envelope will be created for you as you tweak the parameter settings during playback. This feature can be used in con@unction with your control surface. ?ote that any changes to these parameters that are made on the screen with your mouse will still be applied, as will any changes made using your control surface. >e careful, though, or you could end up creating a whole heap of unwanted envelopes+ =o%e: *t is important when you finish recording your automation envelopes in this way that you change )utomation mode to 'ead or Trim3'ead, otherwise every parameter you tweak will create and3or modify an envelope, whether you want it to or not.

#@.!C Au%o)a%ion 'i%$ 1%e)s and -a(es

*ndividual media items and takes can be given their own Solume, Pan, Pitch and ute envelopes. To do this, select and right click over the item then choose the -a(e command followed by whichever envelope you want.

Enve/opes 'i%$ 3edia 1%e)s

*n the e,ample shown on the right, a pan envelope has been added to our media item, using the -a(e? -a(e pan enve/ope command. The item is panned first away from the center then back towards it. The envelope can be edited with points added, moved, and so on, @ust like any other. Kou can right.click over any point or segment of a take envelope to access the conte,t menus. Kou can also create different envelopes for different takes of the same item.

Enve/opes 'i%$ 3u/%ip/e -a(es

*n the e,ample shown here, separate Pan envelopes have been added to the both takes for the last verse of a song, with different F; . The combination of the different panning and the touch of 'eaSerbate added to one of the takes can make for an interesting vocal effect when the P/ay a// %a(es option is enabled for this item.

#@.!9 Au%o)a%ion 'i%$ ,ard'are *u%pu% 6ends

*f you are using hardware output sends with any of your tracks, you will find that you can automate the Solume, Pan and ute parameters for these sends. These items will appear in the trackIs envelopes window as shown on the right. *n the e,ample shown, we have already created a send from Track % to an )udio Mardware Butput. =e can now create an envelope to control the volume of this send. =e can even go one better than this. Duppose that we wish to use fader movements to shape this envelope, but without using =rite mode for any other envelopes that we may also have created. This can be done from within the TrackIs *B A'outingE =indow. Take a look at the screen shot below. Kou can see that the )utomation mode has been set to Touch from within the 'outing =indow, @ust for that one envelope. Kou could now play your track, ad@usting the audio hardware output send fader in the window shown above to ad@ust the send volume level and create your envelope. Kou can also do this with Track Dend envelopes. -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 11"

#@ - Au%o)a%ion 'i%$ Enve/opes

#@.A" Au%o)a%ing Au%o)a%ion

DonIt forget that '()P('Is Ac%ion .is% capabilities really do put a lot of power and control at your fingertips. For e,ample, if thereIs an automation task or seHuence of tasks that you use freHuently, you can allocate a keyboard shortcut to that seHuence. For e,ample, suppose that you often need for the current track to display and select, ready for automation, a volume envelope, and then select =rite automation mode for that track. Kou could use the Ac%ions? 6$o' ac%ion /is%> command to open the )ctions window and create a custom action similar to that shown. Kou could then assign a keyboard shortcut to that custom action, or add it to one of your toolbars. 'efer back to Chapter %1 for more information about custom actions, keyboard shortcuts, and custom toolbars.

#@.A# Ac%ions for 3anaging Enve/opes

*n Chapter %1 you were introduced to some of '()P(':s actions, and how you can use the )ctions (ditor and )ctions Oist to assign these actions to keyboard shortcuts and3or custom toolbars. This list includes very many actions for managing envelopes, including locking3unlocking envelopes, toggling the active status of various envelopes, and selecting specific envelopes. (,plore the )ctions Oist for more+

#@.A! Au%o)a%ing %$e 3e%rono)e

Kou can automate the etronome behavior G for e,ample, to get it to play only at the e,act times that you reHuire. To do this, simply create a new track and use the command 1nser%? 9/ic( 6ource to insert a media item into your file. Kou can then treat this click track like any other track G for e,ample, add a mute envelope to mute certain passages, and so on. To modify any of the click track properties, right click over the track and choose 6ource Proper%ies from the menu. For e,ample, you can change the >P setting, or use your own sample files to create the beats.

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Up and Running: A REAPER User Guide v 4.59

#@.AA Using %$e -e)po&-i)e 6igna%ure and P/ay 6peed Enve/opes
*n Chapter Q, you learnt how to change time signature and3or tempo within a pro@ect. )nother Aand perhaps more intuitiveE way of doing this is to use the Tempo3Time Dignature (nvelope. To display this envelope in the main '()P(' arrange window2 %. Choose the command Vie'? -e)po enve/ope from '()P(':s main menu. !. Det the )utomation mode for the aster Track to Read. . The Tempo ap envelope range AbpmE can be set in your Preferences, on the (diting >ehavior, (nvelope Display page AChapter %QE. There you can also specify whether you wish to allow partial measures. =hen the Tempo ap is visible, an envelope appears on the aster Track in arrange view. This envelope can be modified much like any other G you can add points, move them, delete them, ad@ust them, etc. Mowever, the master tempo envelope cannot be modified by freehand drawing. oreover, editing multiple points at once on this envelope causes each point to be ad@usted pro rata, not by a constant >P value. =ith each envelope point, a tempo3time signature marker is also inserted on the timeline . editing their values has the same effect as editing the envelope points, and if you move them, then envelope points move with them Aand vice versaE. '()P(':s )ctions Oist also includes an action Ad:us% en%ire enve/ope %e)po... This opens a dialog bo, which offers you the options of ad@usting the entire envelope by a percentage or by a set number of beats per minute. Dimilarly, you can also add to the aster a Playrate envelope, which can be used to automatically speed up or slow down the playback of your pro@ect. This envelope is applied to all tracks, audio and *D*. To do this2 %. !. Click on the (nvelopes button in the Track aster. This displays the (nvelopes window for the ?ow tick the item P/ayra%e. ake sure this item is marked as both Sisible and )rmed. Close this window. aster.

#@.A4 .oc(ing Enve/opes

=hen you are satisfied that your envelopes have been finalised, you can lock them in order to prevent any accidental changes or deletions from taking place. Pressing 6$if% . Aor right.clicking on the Oock toolbar buttonE will cause the .oc( 6e%%ings window to be displayed Asee rightE. Kou should then select the Enve/opes option, along with any other aspects that you also reHuire to be locked. ?ote that even with the Enve/opes option selected, locking will only be applied if you also select the Enab/e /oc(ing option. The keyboard shortcut . can be used to toggle lock enabled status on and off.

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#B - Au%o)a%ion 'i%$ Para)e%er 3odu/a%ion #B Au%o)a%ion 'i%$ Para)e%er 3odu/a%ion

#B.# -$e 9oncep%
The use of parameter modulation is probably best undertaken only by e,perienced mi,ers. This chapter serves as an introduction, but inevitably Abecause of the comple,ity of the topicE it is not really pitched at the relatively novice user. Parameter modulation takes '()P('Is routing, channel splitting, automation and sidechaining capabilities to new levels. Kou should probably not attempt this chapter unless you already have a sound grasp of these and other concepts. *f necessary, turn back to the chapter 3ore REAPER Rou%ing E4a)p/es and work thru it again. Parameter modulation at its simplest means using the level of a track:s volume or one or more F; parameter to control the behavior of one or more other F; parameters on the same track or on a different track or on a number of tracks. DonIt worry if at this stage you find this difficult to comprehend. The concepts of what this is and how it works will become clearer after you have worked thru some e,amples. Bne relatively simple e,ample might relate to the application of a chorus plug.in to a guitar or bou<ouki track. Duppose that we wish to vary the wet3dry balance of the chorus throughout the track. =e could, of course, accomplish this with the use of automation envelopes. Mowever, this might involve Huite a lot of work. Oet:s take this idea a step further. Duppose that we wish to define a relationship between the instrumentIs volume and the wet3dry mi,, so that as the volume increases the mi, becomes drier, and vice versa. The chorus will seem to tail away more into the distance during at times when the instrument is played more forcefully and become gently more present during the Huieter passages. 'ather than have to create a series of envelopes for our chorus plug. in, we can use parameter modulation to ensure that the chorus mi, will respond automatically and in real time to changes in volume. *ncidentally, this particular e,ample can create an interesting effect of space and distance on the instrument, but as with most of the other e,amples throughout this -ser /uide, that is not the main point of the e,ercise. The main point is to show you how parameter modulation is set up and used. *tIs then up to you to use and apply it in ways that you:ll find will bring new life and vigor to your own mi,es.

#B.!

-$e 1n%erface

=e:ll shortly work thru some e,amples which will show both how parameter modulation works and how you can go about using it. First, we need to introduce a few basic terms and concepts. =hen you select a parameter to be modulated, you will initially see the window shown here ArightE. *n this e,ample, parameter modulation is about to be applied to control a compressor:s threshold on a vocal track. This initial window features five basic controls. These are2 Enab/e para)e%er )odu/a%ion? base/ine va/ue. This needs to be ticked for the parameter modulation AP E to be applied. -nticking this bo, sets the P to bypass. -$e $oriDon%a/ base/ine va/ue fader. This determines the starting value of the parameter being controlled. =e:ll come to an e,ample shortly. *nitially, leave this at its default setting Afully leftE. Audio con%ro/ signa/. Ticking this option will open a window which is used to define both which track Aor tracksE contains the audio signal that is to be used to control the parameter being modulated, and how you want the modulation to be applied. Don:t worry, we:ll get to an e,ample soon+ .F*. This option allows you to use a low freHuency oscillator signal Asuch as sine, sHuare, triangle, etc.E to generate a tone to control the parameter being modulated. This is more likely Abut not e,clusivelyE to be used when it is a synthesi<er parameter that is being modulated. .in( fro) para)e%er. This option allows you to link one F; parameter to another. )n e,ample might be to ensure that as a track is compressed more heavily, some presence is added to the (F Ato compensate for loss of dynamicsE. )nother might be that as the wet3dry balance on a delay effect is

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Up and Running: A REAPER User Guide v 4.59

ad@usted to add more delay, the pan position of the delayed signal is automatically moved further out. The possibilities really are endless.

#B.A

7efining a Para)e%er for 3odu/a%ion

*llustrated below is an e,ample of the Parameter odulation window with @ust the Enab/e para)e%er )odu/a%ion and Audio con%ro/ signa/ options enabled. The table below that e,plains the main settings, what they do and how they are used. =e will then go on to work thru some e,amples to show you how parameter modulation can be used.

1%e)
Enab/e para)e%er )odu/a%ion? base/ine va/ue with Fader

7escrip%ion
The checkbo, enables3disables parameter modulation on this parameter. The fader sets a default value for the specified parameter that is to be modified. Mowever, if an automation envelope e,ists for the same parameter then that envelope will determine the baseline and this setting will be ignored. (nables3disables control of the parameter by the audio signal in the specified -rac( audio c$anne/. This specifies which audio channelAsE G for e,ample, %3! or 13& G contain the audio signal that is used to control the specified parameter. The selection of channels available will depend on how many channels have been previously defined for the track. *n more straightforward applications, you will want to choose channels % W !. This will ensure that the parameter is controlled by the audio signal on its own track. Mowever, as you will see soon, you can choose a source other than channels % W ! if you want an F; parameter on one track controlled by the audio signal from a different track. The latter case would be an e,ample of sidechain parameter modulation.

Audio con%ro/ signa/ -rac( audio c$anne/

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#B - Au%o)a%ion 'i%$ Para)e%er 3odu/a%ion

1%e)
A%%ac( and Re/ease

7escrip%ion
These two factors determines the speed with which changes in the level of the incoming signal will be applied to the parameter. They work in a similar way to )ttack and 'elease on a compressor. ) higher attack setting will cause the parameter to respond more slowly to changes in volume in the source audio channel. ) low release speed will cause the modulation to be ad@usted rapidly as the volume then falls. ) higher speed will hold the modulation for a longer period before doing so. /enerally 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.

3in Vo/u)e and 3a4 Vo/u)e

These determine the range within which the signal on the track audio channel will be used to modify the F; parameter. For e,ample, in the illustration shown, the parameter in Huestion Achorus wet mi,E on the track in Huestion Atrack &, >ou<oukiE will only be controlled by the audio signal on channels % and ! when its volume falls within the range . !& d> to . ".P1 d>. *f or when the signal is Huieter than .!& d> or louder than . ".P1 d> the parameter modulation is in effect set to bypass.

6%reng%$ and 7irec%ion

These determine the nature and the intensity of the relationship between the incoming audio signal and the parameter being controlled. For e,ample, set to %""L positive as the incoming audio signal increases or decreases, then the parameter being controlled will also increase or decrease to the same degree. )t P"L, the relationship will still be positive, but more moderate. Kou can think of this as being conceptually similar to a ratio control on a compressor. Oikewise, a setting of %""L negative means that as the incoming audio signal increases, the parameter being controlled will decrease in the same proportion, and vice versa. )t P"L, the relationship will still be negative, but more moderate. )t "L, the effect will be completely neutral.

Audio 9on%ro/ 6$aping 6igna/ Grap$

This graphical control helps shape the behavior of the parameter that is being modified. For e,ample, if the direction is set to positive, then pulling the small red handle Ain the centre of the diagonal lineE on the graph fully to the bottom right corner will result in more modest increases in the value of the parameter being modified. Bn the other hand, pulling the small red handle Ain the centre of the diagonal lineE on the graph fully to the top left corner will result in greater increases in the value of the parameter being modified. Don:t worry, we:ll work thru an e,ample soon.

The best way for you to understand how parameter modulation works is to try it out in practise. This first e,ample will use several of the P window controls. =e will first select a parameter to be modulated, then set its baseline fader level, and then select the reHuired audio control signal. Finally, we will define the relationship between the audio control signal and the parameter being modulated.

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#B.4 7efining a Para)e%er for 3odifica%ion

To select an F; parameter to be modified, follow either of these seHuences2 %. Displaying the trackIs Enve/opes&Au%o)a%ion window and click on the J for any plug.in to display the list of its controls. Click on the 3od button for any parameter that you wish to have modified by an audio signal. Kou will then see a small check bo, ne,t to the 3od te,t for that item in the (nvelopes window Aas shown rightE. Close the (nvelopes3)utomation window. Bpen the plug.inIs F; window. =ith the mouse, click on the control for the parameter that you wish to modulate. Click on the Para) button in the plug.in window, then choose Para)e%er )odu/a%ion from the menu that is then displayed Aas shown belowE.

!.

1.

Br2
%. !. 1.

?otice ArightE that the name of the last touched parameter G the one to which parameter modulation will be applied G is shown dimmed at the top of the Para) button menu.

#B.5

Para)e%er 3odu/a%ion 'i%$ Audio 9on%ro/

*n this first e,ample, we will insert a plug.in such as chorus into a trackIs F; chain, then use that trackIs audio signal to control the way that plug.in behaves.

E4a)p/e
%. !. 1. &. P. Bpen the file A// -$roug$ -$e =ig$% and save it as A// -$roug$ -$e =ig$% 3*7#. )d@ust track faders to get a reasonable mi,. This could be Solume at .".P db, center, /uitar >ody at " db, PPL left, /uitar ?eck at " d>, R1L right, and >ou<ouki at .& d>, %PL left. Dolo the 5ouDou(i track. =hile working thru this e,ample, this is the only track that will be needed. *nsert the 6: 7e/ay&de/ay;c$orus plug.in into this trackIs F; chain, and set the various parameters as shown here. Click on the 'e% )i4 Ed5F ro%ary in this plug.in. ?otice that currently this is set at %""L.

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#B - Au%o)a%ion 'i%$ Para)e%er 3odu/a%ion

R. Click on the Para) button, then choose Para)e%er 3odu/a%ion from the menu. This will open a parameter modulation window for the wet mi, rotary. (nable the option Audio con%ro/ signa/ and select as the -rac( audio c$anne/s % W !. Play the track. The wet rotary on the plug. in was initially at %""L, as shown here. Mowever, as you ad@ust the baseline fader Ain the P windowE while the track is playing, the wet value in the Chorus window Ashown to the immediate right of the ! in ! out buttonE is also ad@usted. Oeave it with a wet mi, level of about P"L. Det the various items in the Para)e%er 3odu/a%ion window as shown below and play the track. Kou should notice the 'e% )i4 element of the chorus being faded down for louder notes and passages and back up for Huieter notes and passages. ?ow e,periment+ Kou should find that2 oving the A%%ac( and Re/ease faders left will result in the wet mi, chorus fader movements becoming more @erky. oving them right should make them smoother. oving the 6%reng%$ fader AnegativeE to the right will cause the wet mi, chorus fader to be faded down for louder notes and down up Huieter ones. Delecting positive reverses this. oving the 3in Vo/u)e fader left will lower the threshold at which the parameter modulation is applied. oving it right will raise the threshold.

#.

6.

Q.

%". =hen you have finished e,perimenting, ad@ust the settings to those shown here.

%%. This instrument becomes louder as the song progresses. Play it, with the >ou<ouki unsoloed. >y the end, there is less chorus being applied to the bou<ouki. For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) 11#

Up and Running: A REAPER User Guide v 4.59

%!. ?ow play the song again. Drag hold of the handle on the graph, and use your mouse to drag it to the lower right position. ?otice that the movements of the wet mi, fader now become more modest. %1. ?ow drag hold of the handle on the graph, and use your mouse to drag it towards the top left corner of the graph Aas shown belowE. ?otice that the movements of the wet mi, rotary now become much sharper and the wet mi, level stays well below P"L.

%&. 'estore the graph to its earlier position Ashown at step %"E when you have finished. Dave the file.

#B.@

Using an .F* 6$ape 'i%$ Para)e%er 3odu/a%ion

?ow let:s have some fun and use a low freHuency oscillator to further modify the way parameter modulation is applied. )d@ust the shape of the curve as shown below. Try turning on the .F* option. Dtart with some fairly conservative settings as shown below. Delecting the -e)po 6ync option should help make for a fairly safe outcome+ The 6peed setting controls the rate at which the signal is repeated. =ith this set to beats you should be able to stay in sync with the tempo.

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#B - Au%o)a%ion 'i%$ Para)e%er 3odu/a%ion

Compare how the track now sounds with P enabled and disabled. *f you are familiar with working with low freHuency oscillators, you might wish to be a little more adventurous. Btherwise, @ust save the file as A// -$roug$ -$e =ig$% 3*7# .F*.

#B.B

Using Para)e%er 3odu/a%ion for 7yna)ic 9o)pression

*n this ne,t e,ample, you will use parameter modulation to dynamically ad@ust the settings to compress a vocal track in such a way that the threshold will automatically be ad@usted during the louder passages. This gives you a more precise control over the compressorIs operation than would otherwise be possible.

E4a)p/e
%. Bpen the file A// -$roug$ -$e =ig$% 3*7# and save it as A// -$roug$ -$e =ig$% 3*7#A. !. Pan the Socal track to the center and set its volume at about. ".P d> 1. *nsert an instance of Rea9o)p into the F; Chain for the Vo4 track. &. Det the -$res$o/d to about G!& and the Ra%io somewhere around &2%. Det Hnee si<e to around %Pd>. Det the +e% gain to about W%.Rd>. P. )s you play the song, ad@ust the settings to suit. Bne possible set of suitable parameter values is shown on the right. R. )s you play the track you might feel that the compression at times sounds about right but at other times is being applied too heavily. This is where we can use the trackIs own volume level to control its parameters. *n this e,ample, we will do this with the threshold only, but it could also be done with the ratio if you wished to. #. Click once on the -$res$o/d fader. 6. Click the Para) button for this plug.in. Q. From the menu, then choose Para)e%er 3odu/a%ion. %". Dtudy the suggested settings shown below and ad@ust your settings accordingly as you play the song. 'efer to the comments below. %%. ?otice in particular how the attack and release setting levels, the shape of the curve and the volume settings all help prevent the threshold from being ad@usted too radically. %!. Dave and close the file when finished. =o%es >y setting the in Solume in the P window to the same level as the Threshold in the 'eaComp window we ensure that the P is only applied when the vocal is at its loudest. The Dtrength setting of 11L effectively means that for every 1 decibels by which the volume e,ceeds the min volume, the threshold will be lifted by about % d>. =o%e: =hen you are using Parameter odulation you should be prepared to tweak the various parameters carefully. Dometimes even the slightest change to a parameter value can significantly change the result. *f at first you do not seem to get any result, e,periment especially with ad@usting the baseline value setting.

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#B.C

5ypass 3ode

=henever you create a parameter modulation for a parameter, a small bo, is added ne,t to its name in the (nvelopes3)utomation window. This can be used to enable any of your parameter modulations, or set them to bypass mode Ain which case they are of course ignoredE. Btherwise you can do this from inside the Parameter odulation window itself. *n the e,ample shown here, P settings e,ist for the Threshold Acurrently enabledE. )lso, note that clicking on the word 3od for an item where parameter modulation already e,ists will cause that window to be opened Aeven if it is currently disabledE so that you can view and3or edit the settings.

#B.9

Para)e%er 3odu/a%ion Under Para)e%er 9on%ro/

>y linking parameters you can use dynamic changes in one F; parameter to directly control another. *n this ne,t e,ample you will do @ust this, linking a track:s (F gain with its compressor threshold, so that whenever the compression threshold is raised a little more warmth is automatically added to the track. %. Bpen the file A// -$roug$ %$e =ig$% 3*7#A and save it as A// -$roug$ %$e =ig$% 3*7#5. !. *n the vocal F; chain, add an instance of 'ea(F Aafter 'eaCompE. Delect >and !. Det the FreHuency to about %6" M<, the bandwidth to about !."" octave and the /ain to "." d>. 1. =ith the 'ea(F window open, click on the >and 1 /ain control, then the Para) button, then Para)e%er 3odu/a%ion to open the Parameter odulation window. Delect the option .in( fro) para)e%er.

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#B - Au%o)a%ion 'i%$ Para)e%er 3odu/a%ion

&. Click on the large button immediately below the .in( fro) para)e%er option and choose Rea9o)p then -$res$o/d Aas shown hereE. P. =hile the pro@ect plays, ad@ust the baseline value fader so that the /ain on >and 1 in 'ea(F is restored to " d>. R. Det the *ffse% fader to PL and the 6ca/e to W%""L Asee notes belowE. #. Play the song and save the file. *n our first two e,amples A%#. P and %#. RE parameter modulation was used to create Huite a dramatic effect. *n the last two e,amples A%#. # and %#. QE, the effect is far more subtle. The two controls *ffse% and 6ca/e can be used to control the e,tent to which the controlling parameter Ain this e,ample the compressor:s thresholdE modifies the controlled parameter Ain this case the (F band gainE. The Bffset fader increase Ato the rightE or decreases Ato the leftE by a specified percentage the value of the parameter being modified The Dcale fader covers a range from .%""L to W%""L. )t .%""L the relationship between the controlling parameter AthresholdE and the controlled parameter A(F band ! gainE will be %""L negative2 the (F gain will be lowered e,actly as the threshold is raised. )t W%""L the relationship will be %""L positive and the opposite will occur. Parameter modulation is a very powerful feature indeed. Kou will get the best out of it if you are prepared to e,periment and be creative. For e,ample, in the above e,ample you could add a parameter control for another (F /ain Aperhaps >and 1E, driven this time directly by the track:s audio signal. )nother e,ample would be to use, say, the threshold on one compressor to drive directly the threshold on another compressor, independently of audio control.

#B.#" Using Para)e%er 3odu/a%ion 'i%$ an Enve/ope

=hen you have an automation envelope enabled for a parameter being modulated, then the baseline value will be determined by that envelope rather than by the baseline value fader in the parameter modulation window. =hen this happens, the baseline value that is actually applied will itself vary Aaccording to the envelopeE throughout the song. This can produce some interesting results.

Mere we have added an envelope to control the 5and A EP Gain setting of 'ea(F. >y clicking the 3odu/a%e button in the envelope lane we are able to open the Parameter odulation window and take the necessary steps to ensure that the (F gain will respond automatically to changes in the strength of the audio signal on this track. *n this e,ample, when the envelope is lowered @ust after the current position of the play cursor, the baseline value of the parameter being modulated will also be lowered.

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#B.## Para)e%er 3odu/a%ion under 6idec$ain Audio 9on%ro/
This ne,t e,ample introduces another application for Parameter odulation. *n this case, we will use the audio signal from one track Aa vocal trackE to shape the sound of an instrument submi, Athat is, a folder track containing several instrumentsE. This will be done in such a way as to cause the instruments to appear to pull back slightly during the vocal passages.

E4a)p/e
%. Bpen the file A// -$roug$ -$e =ig$% 3*7# and save it as A// -$roug$ -$e =ig$% 3*7!. 'emove or set to bypass the delay plug. in in the >ou<ouki track:s F; chain. *nsert a new track after the vocal track. ?ame this track 1ns%ru)en%s and make it into a folder. *nsert the three instrument tracks into this folder, as shown on the right. )dd an instance of Rea9o)p to the >ou<ouki track. This is needed only because the volume of this instrument increases Huite significantly as the song progresses. =e wish to pull this back a little. Det a threshold of around G%Pd> and a ratio of around &2%. Delect the *nstruments folder and display its 'outing A*BE window. Det the number of track channels to & and add a receive from channels %3! of the So, track to channels 13& of the *nstruments folder. Bpen the F; =indow for the *nstruments folder and add an instance of 6: 66%i//'e//&e4ci%er. This will be used to brighten up the instrument a little.

!. 1.

&.

P. R. #.

6. Dettings similar to those shown here will definitely brighten the instruments, perhaps more than you would like. For the sake of this e,ercise, however, these levels should be fine. Q. =e are now going to use parameter modulation to ensure that audio signal from the vocal track drives down the mi, level of the e,citer. This will have the effect of helping the vocal to @ust float over the instruments a little. %". Click on the 3i4 \ control, then on the Para) button and choose Para)e%er )odu/a%ion from the menu. %%. =hen the P window is opened, enable parameter modulation and use the baseline fader to set the baseline level for the i, L back to about 1"L. %!. Delect -rac( audio c$anne/s A&4 and make the direction =ega%ive. %1. )d@ust the other parameters so that as the vocal floats above the instruments the smoothly and gently faded down. i, L of the (,citer is

%&. Bne possible solution to this e,ercise is shown below. >ut don:t @ust dive straight in and copy these settings. Try to get there by yourself+ %P. Dave the file when you are finished.

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#B - Au%o)a%ion 'i%$ Para)e%er 3odu/a%ion

#B.#! Fur%$er App/ica%ions

This chapter has introduced you to @ust a few basic e,amples to help you understand what '()P('Is parameter modulation is and how it can be used. *n doing so we have barely scratched the surface. Mere are some other points to keep in mind2 =ith parameter modulation, the signal from any track can be used to control parameters on any other. For e,ample, the signal from an audio track can be used to control parameters on a synthesi<er, and a synthesi<erIs output can be used to control signals on an audio track. *f you are familiar with working with synthesi<ers and low freHuency oscillators, you may have developed an understanding of different types of waveforms such as sine, sHuare and triangle. Kou can use these OFB shapes in your parameter modulation. The opportunities here can take you well beyond the introductory e,ample used earlier in this section. Bther applications for parameter modulation are limited only by your needs, your creativity and your imagination. For e,ample, with this techniHue you are able to use the audio signal from one track Aor group of tracksE to control specific parameters on a noise gate on another track Aor tracksE.

-ip: Kour parameter modulation windows and their settings will automatically be saved with any F; chains and3or track templates that you create.

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#C - E4por%ing Fi/es? 3i4ing 7o'n and Rendering #C E4por%ing Fi/es? 3i4ing 7o'n and Rendering
#C.# 1n%roduc%ion
There are three main tools available to you for taking your finished pro@ects or tracks out of '()P(', for e,ample for final distribution or for further processing elsewhere. These are2 9onso/ida%e -rac(s2 this outputs tracks pre.processing Aignoring for e,ample track F; and panningE. -se this, for e,ample, if you are supplying files to be mi,ed3mastered by someone else. Render %o Fi/e2 this outputs your material post.processing Aincluding for e,ample all F; and panningE. -se this to produce a final mi, of your songs ready for distribution. 5a%c$ Fi/e&1%e) 9onver%er2 this takes a collection of files at any stage in your pro@ect and converts them en mass to another format G for e,ample, to convert audio to P1 for web distribution, or DF; for games to !! kM< mono.

#C.!

5a%c$ Fi/e 9onversion

Kou might have several tracks to convert to another format, e.g. from .=)S to . P1. This can be done in one pass, using '()P(':s batch file converter, accessed by choosing Fi/e? 5a%c$ fi/e&i%e) conver%er from the main menu. This dialog bo, ArightE will be displayed. Follow this seHuence2 %. *n )rrange view, select the items to be converted then click on Add, then Add se/ec%ed )edia i%e)s, or !. Click on the Add... button, then Add fi/es... ake your selection, and click on *pen. 1. To remove any file from the selection, click on its name in the File Converter window, then click on the Re)ove button. To clear the entire selection, use the 9/ear button. &. Dpecify output directory Aor select Use source fi/e direc%oryE. Oeave the Fi/e na)e blank for the default name Ashown in the Butput columnE, or enter your own. Kou can include te,t and3or any of the many available wild cards. The above e,ample uses pro@ect name, year, month and day. Dee note about wild cards below. P. Oeave the c$anne/s and sa)p/era%e settings at source to use the same values for your output files as are used by your input files. Btherwise, you may make what changes you like G e.g. from stereo to mono, or from 66.! kM< to &&.% kM<. R. To convert the files, after making your selection click on the 9onver% A// button. This opens the Fi/e 9onversion window Asee aboveE. #. Delect your reHuired output format Ae.g. P1, B//, FO)CE and any parameters associated with that format. Depending on the format, you might have the options for dithering and3or noise shaping. 6. Bptionally, you can select Use F8. *f you select this option, you should also click on the F8 c$ain... button to specify your reHuired effectAsE G for e,ample, perhaps a limiter. =hen -se F; is enabled, you may also specify an F; tail length in ms. Q. Dpecify your output AdestinationE folder and click on 6%ar% 9onver% to implement the file conversions. Close the File Converter window when finished. For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) 1&P

Up and Running: A REAPER User Guide v 4.59

=o%e on +i/dcards: -sing wildcards causes individual information included in the name of each rendered file. For e,ample, including 0pro@ect in the filename will cause the actual pro@ect file name to be included in the name of the rendered file. *ncluding the backslash character between wildcards causes a sub directory to be created. For e,ample, when rendering individual tracks, naming your output files ^pro:ec%G^%rac( would cause a separate subdirectory to be created for the output of each track.

#C.A

9onso/ida%ing and E4por%ing

Kou might be collaborating on a pro@ect with someone else, or with other people. Perhaps, for e,ample, you want to send your pro@ect to a friend who will add some vocal harmonies to your song. =hat if that friend lives a long way away4 Kou could send her your .'PP file together with all the media item files. >ut what if she doesnIt use '()P('4 Perhaps she uses a different software program, or perhaps she doesnIt have a D)= herself and will need to use a commercial studio for this purpose. *n this case, it should first be consolidated and e,ported. Take a look at the e,ample above. Mere, the So, track is made up of three items, each covering part of the total song. *f we were to send the media files Asi, in allE to someone else, then it would be difficult for them to line the items up. ThatIs where consolidate and e,port helps. *t creates a new set of audio files, @ust one file per track. Bnce these new files are inserted in another D)=, each starting at <ero time, one per track, then everything will be in the right place for further mi,ing. %. Depending on what you wish to consolidate, if necessary make any time selection and3or track selection. !. From the main menu, choose Fi/e? 9onso/ida%e&E4por% -rac(s. 1. Choose En%ire pro:ec% or -i)e se/ec%ion or 9us%o) selection, then A// or 6e/ec%ed %rac(s. &. Decide if you want to Force *u%pu% For)a% to a single format or have this determined on a per track basis. P. Delect a Resa)p/e 3ode. R. Dpecify reHuired format G =)S, )*FF, FO)C, P1, B// Sorbis, onkeyIs )udio or =avPack. *n the e,ample shown, )*FF has been selected. #. Delect your reHuired specifications for your chosen format. For e,ample, for )*FF files you need to select a bit depth, for P1 a mode and Huality. *f in doubt, speak to the person who will be doing the work. 6. Dpecify your Butput directory Awhere the files will be written toE. Dpecify whether you wish to update your pro@ect with the newly consolidated files. Q. Dpecify a name for the new pro@ect file Aor accept the defaultE. Click on Process. >elow is shown how the pro@ect file looks after consolidation, with one media item per track. =o%e: >e careful how you use the option to E)bed pro:ec% %e)po. *t adds an )C*D tempo tag to the audio fileAsE. This may be interpreted by any tempo aware application so that the audio is stretched or processed when you do not wish this to happen. Bnly enable this option if you are certain you want the tempo embedded. -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 1&R

#C - E4por%ing Fi/es? 3i4ing 7o'n and Rendering

*t would now be a simple task for an audio engineer to import these four media items into any D)= program, then overdub the vocal harmonies. =o%e: To consolidate in P1 format you will need to have the correct free Oame encoder file for your platform and '()P(' version. For e,ample, for =indows ;P or Sista this is /a)e;enc.d//. For R& bit =indows it will be either /ib)pA/a)e.d// or /a)e;[email protected]//. The file should be placed in your 9:GProgra) Fi/esGREAPER folder. *t will take you only a few moments to use /oogle to find a suitable download location. Oikewise, for output video rendering you will reHuire an encoder such as FF)peg. ?ote also that when you consolidate your media in this way, your item settings and properties Asuch as take envelopes, take F; and item pitch ad@ustmentE will be incorporated in the output files, but track based properties Asuch as track F;E will not be. *f you wish to apply your track F; chain, track envelopes, etc. to your output media, you should instead use the Render %o Fi/e dialog, selecting 6%e)s Ese/ec%ed %rac(sF from the 'ender drop down list.

#C.4

Rendering A Pro:ec%

)s you:ll find out before you reach the end of this chapter, the Fi/e? Render... command has several diverse uses. Bne common one is for rendering a complete pro@ect down to a single stereo file. OetIs say that you have finished your recording, completed your edits, added all your F; and automation, arranged all your tracks J. and now you want to produce an end product for distribution. *f you:re aiming for an audio CD, you will need one %R bit stereo wave file for each song on the CD. *f you:re distributing thru the web, then most likely you will want a series of stereo P1 files. =hatever format you choose, each pro@ect will ultimately need to be rendered down to one file. To do this, we use the Fi/e? Render command. Kou can also use the shortcut 9%r/ A/% R. The dialog bo, ArightE shows the various options. Kou must specify a directory and file name2 if you wish, use the 5ro'se button for either or both of these. Kour other choices will depend on the ultimate destination of your material. ) summary of Render %o Fi/e dialog bo, options follows below.

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Up and Running: A REAPER User Guide v 4.59

*p%ion Render E4p/ana%ion Choose master mi, to mi, all material to a single file, stems to render selected tracks to separate files, or both. Dtem rendering is e,plained in Chapter P. 'egion render matri, will be e,plained later in this chapter. Kou can save your settings as a preset, or load a previously saved preset. Delect custom time range Aenter in edit bo,esE, entire pro@ect, time selection Amake selection in arrange viewE, pro@ect regions Aselected in 'egion3 arker anager or 'egion 'ender atri,E, or selected media items. (nter these in the edit bo,es, or use the 5ro'se button. -se the +i/dcards button to automatically include in rendered file names information such as track name or number, region name, pro@ect file name, and3or date3time stamps. Delect a value in the range 6""" to %Q!""", depending on output format and other factors. Dome e,amples follow in the table after this one. Choose mono, stereo or select a number for multichannel output. Full.speed AdefaultE for fastest rendering. Bthers include % , offline and online. Sarious options allow trade off between speed and Huality. Default is %Q!. (nable this to automatically use pro@ect sample rate for mi,ing3processing. (nabling this option ensures that mono channel rendering will automatically be applied to tracks where all media items are mono or with a mono *tem Detting. These can be rendered to multichannel files. )n e,ample of this follows shortly. ?ot available with all output formats, commonly used when rendering !& bit Aor higherE audio material to %R bit =)S format for audio CD. Creates a smoother transition to the lower sample rate in the rendering process. Choose from =)S, )*FF, monkeys audio, audio CD image, FO)C, Sorbis, video AFFmpegE, video A/*FE, or =avPack. P1, B//

Prese%s Render 5ounds

7irec%ory Fi/e =a)e 6a)p/e Ra%e 9$anne/s 6peed Resa)p/e )ode Use pro:ec% ra%e -rac(s 'i%$ on/y )ono )edia ... 3u/%ic$anne/ %rac(s... 7i%$er? =oise 6$aping

*u%pu% for)a% For)a% specific op%ions

Deveral other options will be specific to your selected format. For e,ample, for =)S or )*FF files, bit depth will need to be specified, for FO)C you must select FO)C encoding depth and data compression level. =hen rendering to =)S format, you may also specify whether markers, regions, both or neither should be embedded as cues in the output fileAsE. The option 1nc/ude pro:ec% fi/ena)e in 5+F descrip%ion is also available for =)S format2 it associates rendered files with the source pro@ect G see Chapter %%. Prevents you from accidentally overwriting an e,isting file2 if an e,isting file name is selected, an incremental number such as ""% will be appended to the name. *f enabled, this option causes your rendered fileAsE to be added to the pro@ect as new tracks. Tells '()P(' to make a time and date stamped copy of your pro@ect file, preserving all settings e,actly as they are at the time of rendering. These options are used in batch rendering, which will be discussed shortly. Causes the pro@ect to be rendered to one or more files, depending on options. Daves and closes the render settings without rendering any files.

6i/en%/y incre)en% fi/ena)es Add rendered i%e)s %o ne' %rac(s... 6ave copy of pro:ec% %o ou%/ine.'av.RPP *pen render Iueue Add %o render Iueue Render 4 fi/es 6ave c$anges and c/ose

Pro:ec% Rendering E4a)p/es

E4a)p/e 7V7 Audio 6ound%rac( 6pecifica%ion Dample 'ate2 &6""" MT, Channels2 Dtereo, Migher Fuality Butput format2 =)S format, !& bit -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 1&6

#C - E4por%ing Fi/es? 3i4ing 7o'n and Rendering

E4a)p/e 97 Audio App/e 3ac +eb 6i%e & +eb Audio 6pecifica%ion Dample 'ate &&%"" MT, Channels2 Dtereo, Migher Fuality Butput format2 =)S format, %R bit )*FF Format. Preferred settings will vary with individual circumstances. Dample 'ate &&%"" MT, Channels2 Dtereo, Migher Fuality Butput format2 P1 format Bther options may vary as you trade off files si<e and download time against audio Huality, but a typical selection might be2 C>' AConstant >it 'ateE QR or %!6, $oint Dtereo, Fuality Migh -se this format for lossless compression at %R or !& bit, sample rate as preferred. Dpecifications as for CD )udio. This option can be used to burn your rendered output directly to CD, or to create an image file on your hard drive for use with other CD burning software. Kou can specify how markers or regions should be used to define tracks. This includes the option only to use markers whose name begins with 9V9, in which case these become track markers. Further information about how to do this can be found later in this chapter. =e look at channel splitting and creating multichannel tracks in detail elsewhere in this -ser /uide, especially in Chapter %P. Kou might have such tracks that you wish to e,port in multichannel format, perhaps for use with another program. First select the tracks in the track control panel, then open the Render %o fi/e dialog bo, and include these options2 Channels . Delect the number of channels, e.g. & Delect Render s%e)s Ese/ec%ed %rac(sF %o si)i/ar/y na)ed fi/es . Delect Render )u/%ic$anne/ %rac(s %o )u/%ic$anne/ fi/es. Bptionally, Add i%e)s %o ne' %rac(s in pro:ec% '$en finis$ed.

3on(eyNs Audio Audio 97 1)age E9ue&5inF for)a%

3u/%ic$anne/ -rac(s

Dhown here is a four channel track ATrack %E rendered in multichannel format ATrack !E. -ip: The )ction Oist includes actions Fi/e: Render pro:ec% using %$e )os% recen% render se%%ings and Fi/e: Add pro:ec% %o render Iueue using )os% recen% render se%%ings. *f assigned to shortcut keys or a toolbar, they can be used to render pro@ects without having to reopen the File, 'ender dialog bo, each time.

#C.5

Rendering a Finis$ed 6ong

=hen rendering a finished song your output format choices are likely to depend on whether your final destination is, for e,ample, audio CD or the web. Mowever, there are a few tips that you may wish to keep in mind which are eHually applicable to both. Kour recording might have a few seconds of silence before the song starts. *f you do not wish to include this period of silence in your rendered material, follow these steps before rendering2 %. Position the play cursor at the point where you wish the rendering to commence. Press 6$if% 3 to create a marker at this point. ?ame this marker 6%ar% Aabove rightE. !. Position the play cursor at the point where you wish the rendering to stop. Press 6$if% 3 to create a marker at this point. ?ame this marker End. For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) 1&Q

Up and Running: A REAPER User Guide v 4.59

1. =ith loop points linked to time selection, double click on the marker line Aabove the timelineE anywhere between the two markers. This selects the entire area between them. &. From the '()P(' menu, choose the Fi/e? Render command. P. Delect the reHuired output format and other options as reHuired, but be sure to include the option -i)e se/ec%ion from the 'ender >ounds drop down list.. The settings shown at the start of section %6.& would be suitable for producing a file for CD audio. Dhown here are those that would be suitable for producing a . P1 file. ?otice that for P1 some options Ae.g. dither and noise shapeE are not available. R. =hen you are ready, click the Render # fi/e ... button in this dialog bo, to render your file.

#C.@

5a%c$ Rendering

Kou might have a collection of songs Aperhaps to go together on a CDE that you wish to render together when the pro@ect is finished. That way, you can go away while '()P(' renders the whole set, and then come back later. Follow this procedure2

For Eac$ Pro:ec% %o be Rendered:

%. Bpen the pro@ect and choose the Fi/e? Render command. !. Choose your various settings and options, as e,plained in the previous sections. Kou will probably want to select the same folder AdirectoryE for all of the pro@ects that will be included in the batch to be rendered. 1. Do not click the 'ender% File button. *nstead, click the Add %o Render Pueue button. =hen you add a file to this Hueue it is saved as it is at that point in time. *f you make any later changes to the file that you wish to include, you should remove the file from the Hueue, then add it back again. &. The dialog bo, will be closed, and nothing appears to happen. P. Dave and close the file.

-o Render %$e Pueued 5a%c$ of Pro:ec%s:

=hen you render the files in the Hueue, each will be rendered to a separate file according to the settings and options that you made for each file individually when you set up the batch. %. From the main '()P(' menu, choose the Fi/e? 6$o' Render Pueue command. !. This causes the dialog bo, shown above right to be opened. )ll files in the render Hueue Ain this e,ample fourE will be listed. 1. *f you need to remove any item from the list, select it and click on Re)ove 6e/ec%ed. &. (ither use 9%r/ 9/ic( to build up a subset of items to be rendered and click on Render 6e/ec%ed or -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 1P"

#C - E4por%ing Fi/es? 3i4ing 7o'n and Rendering

simply click on Render A// to render all items in the Hueue, each of course to a separate file. The Rendering %o Fi/e bo, will be shown as each file is rendered and removed from the Hueue. P. 9/ose the Fueued 'enders dialog bo, when finished.

#C.B

Rendering 6e/ec%ed 3edia 1%e)s

The 6e/ec%ed )edia i%e)s option in the 'ender drop down list can be used to render any media item or selection of media items. The procedure is2 %. Delect the reHuired item, or all reHuired items in )rrange Siew. !. Bpen the Fi/e? Render... dialog bo,. 1. Choose 6e/ec%ed )edia i%e)s from the Render drop down list. &. Delect your reHuired output format and other options in the normal way. P. Click on Render 44 fi/es... to render immediately, or on Add %o render Iueue to do this later.

#C.C

Rendering Regions

This section reHuires you to have a sound knowledge of '()P(':s regions, what they are, how to create3modify them and how to work with them. This is all e,plained in Chapter 6. 'endering regions uses a combination of three possible windows2 Render %o Fi/e, Region&3ar(er 3anager and Region Render 3a%ri4. For the most part you will not need to use all three together, but it will help you if you understand how these three windows integrate.

Kou can select and render any permutation of tracks and regions you like. *n the 'ender to File dialog you can include wildcards like 0region and 0track in the output file names. To display the 'egion 'outing atri,2 From the main menu choose Vie' then Region Render 3a%ri4, or Click on the Render 3a%ri4... button in the 'egion3 arker anager window. *n the Render %o Fi/e dialog, select Region render )a%ri4 from the 'ender drop down list, then click on the Region 3a%ri4... button Asee below rightE.

For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) 1P%

Up and Running: A REAPER User Guide v 4.59

To help you understand how this matri, works, take a look at the e,ample here. This uses a simple pro@ect of four tracks. The song consists of three regions G Serse %, Serse ! and Serse 1 Asee below rightE. *n the first column ASerse %E, only master mi, Athe first header rowE is checked. This would result in one file being rendered for Serse %. This file will be a master mi, of all tracks. *n the second column ASerse !E neither header row has been checked, but two tracks ASo, and So, MarmonyE have been. This would result in one file for each of these two tracks being rendered for this region. *n the third column ASerse 1E both the two header rows Amaster mi, and all tracksE have been ticked. This would result in five files being rendered for this region G a master mi, of all tracks, plus individual files for each of the four tracks. Kou can make your selection in either the 'egion 'ender atri, or the 'egion3 arker anager G both are automatically updated. This is shown below2

This window:s right.click menu is shown here ArightE. Bptions include Render )as%er )i4 for a// regions, Render a// %rac(s for a// regions and Render )as%er )i4 and a// %rac(s for a// regions . From the Region Render 3a%ri4 you can open the Render %o Fi/e dialog by clicking on the Render button. Mere you can select your options, output format, etc. -se a backslash in the file name wherever you wish to create subdirectories. *f you choose, for e,ample, as your file name ^pro:ec%G^region-^%rac( then the output files produced will include the pro@ect file name, region name and track name, with each region:s files being placed in its own separate sub.directory. The file name ^pro:ec%G^%rac(^region would include pro@ect name, track name and region name, with this time a separate subdirectory for each track. =hen ready, choose Render 44 fi/es... , Add %o render Iueue... or 6ave c$anges and c/ose to proceed. -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 1P!

#C - E4por%ing Fi/es? 3i4ing 7o'n and Rendering

#C.9 5urning an Audio 97 'i%$ REAPER

There are at least two situations in which you might wish to burn your material direct to an audio CD. %. Kou have recorded a number of songs. (ach has been mi,ed and rendered to its own stereo wave file. Kou now wish to burn all of these to audio CD, with one track for each song. !. Kou have perhaps a live recording comprising one continuous track. Kou wish to split it up into individual tracks, and then burn to audio CDs. *n both cases the procedure is similar, with some slight differences in how you set the pro@ect up.

Preparing %o burn a 97 fro) severa/ )i4ed fi/es

%. !. 1. Dtart '()P(' and create a new pro@ect file. Press 9%r/ A/% 8 to display the 3edia E4p/orer? then navigate to the folder containing the rendered stereo wave files. Double click in turn on each of the files that you wish to include in your CD program. '()P(' will add each one to your pro@ect, lined up on separate tracks. ?otice that each media item is placed so as to begin immediately after the other, with no gap. *t is not necessary to move any of these in order to create gaps on your CD. Kou will later be able to tell '()P(' to do this automatically for you. Kou will now need to insert a marker to indicate where each track is to start. To do this J First, make sure that Dnapping is disabled. Place the cursor at the beginning of your pro@ect. Press 6$if% 3 to create and edit a marker at this point. ake sure the marker name begins with a Z Aas shown on the rightE. ?ow move the cursor to the start of the ne,t song. )gain add a marker, and again make sure that the marker name begins with a Z. 'epeat this until you have created a marker at the start of each song, as shown here2

&. P.

R. #.

6. Q. %. !. 1.

Dave the Pro@ect File. ?ow follow the instructions below for 5urning %$e 97. *f the recording was made in '()P(', open the pro@ect file. Btherwise, create a new pro@ect file and use edia (,plorer to import the recording, using the method e,plained before. *t is not necessary to split up the media item. '()P(' will take care of this when it burns the CD. Mowever, you will need to indicate where you want each track on the CD to start. First, make sure that Dnapping is disabled. Place the cursor at the very beginning of your pro@ect. Press 6$if% 3 to create and edit a marker at this point. ake sure the marker name begins with a Z Aas shown below rightE.

Preparing %o burn a 97 fro) one con%inuous recording

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Up and Running: A REAPER User Guide v 4.59

&. P. ?ow move the cursor to the start of the ne,t song. )gain add a marker, and again make sure that the marker name begins with a Z. 'epeat this until you have created a marker at the start of each song, as shown below2

R. Dave the Pro@ect File. #. ?ow follow the instructions below for 5urning %$e 97.

5urning %$e 97
%. Choose the Fi/e? Render command. Kou should now select the necessary options and settings for burning your CD. 6a)p/e ra%e2 &&%"" 9$anne/s: Dtereo Render en%ire pro:ec% Render 3as%er 3i4 *u%pu% for)a%2 )udio CD *mage AC-(3>*? FormatE 3ar(ers define ne' %rac(s 5urn 97 1)age af%er render *n/y use )ar(ers s%ar%ing 'i%$ Z. *f you do not have any dithering plug.ins in your aster F; Chain, consider also enabling the 7i%$er and3or =oise 6$ape options. *n the case of the first of our two e,amples Awith separate media items lined up on different tracksE you might also want to specify a .ead in si/ence for %rac(s of !""" ms. Click the Render button and wait for the output file to be rendered. This might take a few minutes. =hen rendering has been completed, the 5urn Audio 97 1)age settings screen will be displayed. Delect 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. Delect E:ec% 97 '$en done. Decide whether you wish to keep or delete the CD image files when done. *t:s probably worth keeping it, at least for now. *f you have any problems with burning the CD itself here, you might well be able to use the image file with another CD burning program such as ?ero or Toast. *nsert a blank CD into your CD drive and wait for it to load. -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 1P&

!.

1.

&.

P. R. #.

6.

#C - E4por%ing Fi/es? 3i4ing 7o'n and Rendering

Q. Click 5urn 97. %". =ait while the 5urning in progress message is displayed. %%. =hen finished, the CD will be e@ected. Click on 9/ose to close any messages still displayed on the screen. =o%e: *nstead of using markers to define the start of your tracks, you can if you wish create a separate region for each CD track and use the Regions define %rac(s Eo%$er areas ignoredF option. Bnly that part of the material that is included in your regions will be burnt to CD. ) further option is to burn the contents of the pro@ect as *ne %rac(. -ip: >efore rendering direct to audio CD you should ensure that the media items that you are burning are in %R bit &&%"" M< .=)S 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 Pro:ec% 6e%%ings as your 3edia for)a% for app/y F8? g/ue? open? copy? e%c. =ithin the pro@ect you can then glue any e,isting media itemAsE, while any media items you then import will be automatically converted to this format.

#C.#" 6aving .ive *u%pu% %o 7is(

Kou have an option to e,port your live output to disk, using the Fi/e? 6ave /ive ou%pu% %o dis( EbounceF command. This is similar to Fi/e? Render, e,cept that whereas the 'ender command works off line, (,port Oive to Disk works in real time. This means, for e,ample, that you can actually make ad@ustments on the fly to your settings while your pro@ect is being mi,ed down. Position the play cursor at the start of the section you wish to save Ae.g. the beginningE and choose the Fi/e? 6ave /ive ou%pu% %o dis( command. Dpecify output directory, file name, output format, etc. Bptions include2 6ave ou%pu% on/y '$en p/aying or recording2 this enables you to stop and start playback3recording whenever you wish, then later start again to resume bouncing to disk. 6%op saving ou%pu% on firs% s%op2 this ensures that bouncing will finish the first time you stop playback or recording. *t is unlikely that you would wish to enable both these options at the same time. =hen you have made your settings, click on the 6%ar% button to begin bouncing. Choosing 6ave /ive e4por% %o dis( EbounceF from the Fi/e menu will now cause the bounce to end. This command has several uses, such as recording continuously a log of your sessions to a compact file format such as P1, so that later you can hear everything that was said about each take even though the transport For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) 1PP

Up and Running: A REAPER User Guide v 4.59

was stopped and nothing was being recorded on the tracks. Bne neat aspect of this is that you can use '()P(':s media e,plorer window to locate and play back this file even while it is still being recorded. *f you do set this to run non.stop, however, remember to stop the recording when you no longer need it, to avoid creating an unnecessarily large file.

#C.## Using Prese%s

Kou can save your render settings as presets, and recall them when you wish to use them again G render bounds and output settings, or options and format settings, or all settings. Click on the Prese%s button Ain the Render %o Fi/e dialog bo,E to display the menu for doing this. Kour presets will automatically be added to the appropriate menu Asee e,ample, rightE.

#C.#! Rendering in 6urround For)a%

=hen you are rendering a pro@ect for surround format, most of the settings will be made as for any other pro@ect Asuch as a stereo mi,E. The one important difference is that you should be sure to select the correct number of channels. *n the e,ample shown here, the pro@ect is for P.% surround, therefore R channels have been selected. '()P(' will render this pro@ect into a single multichannel file. Kou may later need to convert the interleaved multichannel file into multi.mono files of the type reHuired by Dolby and DTD encoders. '()P(' itself does not do this easily, but there are a number of good tools available which will do this for you.

These include +ave Agen% - http233www.sounddevices.com3products3waveagent.htm.

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#9 - REAPER<s Preferences and *%$er 6e%%ings #9 REAPER<s Preferences and *%$er 6e%%ings
#9.# 1n%roduc%ion
)t several places in this -ser /uide we have encountered the use of preferences and settings. *n this chapter, you will learn other ways in which you can use '()P('Is preferences and other settings to tailor the program more closely to your particular reHuirements. Don:t worry about the sheer number of options available. *n many cases, youIll probably be perfectly happy to leave the program settings as they are and @ust let it run. ?ot all of the options and preferences are covered in this chapter. *f you need any further information about any of '()P(':s other preferences and settings, go to the '()P(' =*C* or the '()P(' forums.

#9.!

Genera/ Preferences

ost of the settings on the Genera/ page fall into one of the following categories,2 .anguage2 Delect from list any available language, or option to prompt when '()P(' is loaded. 1)por% and E4por%. These buttons can be used to consolidate, save and e,port your various settings and configurations to a 'eaperConfigTip file, or to import them from such a previously saved file. Dee ne,t page for more details. Undo 6e%%ings. These are e,plained in Chapter ! and re.e,amined near the end of this chapter. 6%ar%up 6e%%ings. Enable or disable options including .oad /as% pro:ec% on s%ar%up, 6$o' sp/as$ screen on s%ar%up and Au%o)a%ica//y c$ec( for ne' versions of REAPER. There is also an option to 9rea%e ne' pro:ec% %ab '$en opening )edia AdirectlyE from =indows (,plorer or BD ; Finder. Recen% Pro:ec% .is%. This setting determines the ma,imum number of files that will be displayed on your File, 'ecent pro@ects menu. +arn '$en )e)ory usage $ig$2 Duggested settings are %6"" for 1! bit, 16"" for R& bit '()P('. Advanced U1 6ys%e) -'ea(s. These allow for a number of options, including the scaling of -* elements such as your icons and panels. =e:ll deal with these later in this chapter.

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#9.!.# 1)por% and E4por% 9onfigura%ion

E4por% configura%ion can be used to e,port to a .'eaperConfig.Tip file any permutation of your settings. 1)por% configura%ion can be used to import a previously saved settings file back into '()P('. This can also be done by dragging and dropping a .'eaperConfig.<ip file from (,plorer or Finder into '()P(':s arrange window. Kou will be prompted to confirm that you really want to do this.

)ny permutation of the following elements can be selected for inclusion in a 'eaperConfig.<ip file2 Configuration Color themes Plug.in presets F; Chains $D F; Pro@ect and track templates iscellaneous data Cursors and key maps enus and toolbars )ctions and key bindings enu sets Channel mappings 'eaDcripts Oanguage Packs

*n the first column, tick the categories to be included. The second column will then show you which files have been selected for inclusion in your 'eaperConfig.<ip file. The files associated with any category will be highlighted in the right column when that category is selected. *n the e,ample above, Configuration is the selected category. )fter making all your selections in the first column, use the 6ave button to create the file. *mport and e,port configuration e,ists side by side with the individual import3e,port options that are available within many of '()P(':s different elements. For e,ample, to e,port only your actions and key bindings you would be most likely to use the 1)por%&e4por%... button within the )ctions window. *f, on the other hand, you wish to e,port your actions and key bindings along with various other settings, such as perhaps menu sets, F; chains and 'eaDcripts Aperhaps to be imported into '()P(' on another computerE, then you would be more likely to use the screen shown above. -ip: *t can be a good idea to create a .'eaperConfig.<ip file that includes a// the above elements and keep a copy as a backup on a CD, eternal hard drive or flash drive Aor all three+E in case of system failure.

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#9 - REAPER<s Preferences and *%$er 6e%%ings

#9.!.! Pa%$s and Heyboards

=ithin the Genera/ preferences category you will find two more pages G Pa%$s and Heyboard. 6e%%ings Page Pa%$s 3ain *p%ions Mere you can set AindividuallyE default paths for '()P(' to use when rendering, recording, and3or for storage of waveform peaks. The last of these will only be applied if under Preferences, pea( cac$es in a/%erna%e pa%$ is enabled. Heyboard The (eyboard section includes the following2 9o))i% c$anges %o so)e edi% fie/ds af%er # second of %yping . (nabled, this allows, for e,ample, a play rate to be typed in to the relevant Transport >ar field without your needing to press En%er Use a/%erna%e (eyboard sec%ion '$en recording. Kou must enable this if you wish to use your ain A)lt recordingE keyboard shortcuts when recording. Preven% A.- (ey fro) focussing )ain )enu. (nabling this will stop the main menu getting focus when the )lt key is pressed. Kou can click on either of the two links in this window to open the action list editor A)ssign keyboard shortcuts J.E or to open your web browser with a list of keyboard shortcuts ASiew keyboard shortcuts as J. E. The other section allows you to customi<e the behavior of your 3u/%i-%ouc$ trackpad or similar, if you have such a device. 'efer to the Preferences, /eneral, Ceyboard window and your device:s documentation for a list of options. edia the option to 6%ore a//

This page consists of two main sections G Heyboard and 3u/%i-%ouc$.

#9.A

3ain Pro:ec% Preferences

'()P(':s main Pro:ec% settings page is in some respects less interesting than either of its two sub.pages Asee belowE. ?evertheless, it has some useful items, including2 The option to specify a defau/% .RPP file to use as a %e)p/a%e when starting new pro@ects. =hether to prompt you to save whenever a new pro@ect is created. This can be a useful reminder to you if you wish to use a separate sub.directory for the pro@ect and its media files. =hether to open and disp/ay %$e pro:ec% se%%ings 'indo' when a new pro@ect is created. This can serve as a handy reminder, for e,ample, if you need to set a pro@ect time signature or timebase that is different from your default. =hether to prompt you with a warning if a pro@ect that you are attempting to load cannot be found. This can happen, for e,ample, when an older pro@ect has been deleted but remains on the 'ecent Pro@ects list. =hether to show the file load status and '()P(':s splash screen when a pro@ect is loading. =hether to save pro@ect file references with re/a%ive pa%$na)es. This can be useful, for e,ample, if a pro@ect is likely to be moved from one disk to another. =hen using Fi/e? 6ave As to over write an e,isting file, whether to create )u/%ip/e versions. =hether to au%o)a%ica//y crea%e a bac(up file A.'PP.>)CE from the previously saved version of a pro@ect file when it is resaved, and if so whether to timestamp it. (nabling these options can be a wise precaution to help you recover data if, for e,ample, a pro@ect file becomes corrupted. =hether to au%o-save your pro@ects and, if so, at what intervals. The default Aif this is enabledE is %P minutes. This can help prevent work from being lost due to power outages or computer crashes. =hether to include your Undo $is%ory when the pro@ect is being auto.saved. This option will only be applied if saving undo history is enabled in your /eneral preferences.

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Up and Running: A REAPER User Guide v 4.59

#9.A.# Pro:ec% -rac(&6end 7efau/%s

)s the page name implies, you:ll find two groups of default settings here G one each for -rac(s and 6ends. 6e%%ings Group -rac(s 3ain *p%ions -rac( vo/u)e fader defau/% gain2 sets the initial volume fader level for new tracks. Default is "." d>. 7efau/% visib/e enve/opes2 allows you to specify any track parameter envelopes Ae.g. Solume, PanE that you would like automatically displayed for new tracks. 7efau/% enve/ope poin% s$ape2 sets the shape for new envelopes Ae.g. OinearE. 7efau/% au%o)a%ion )ode2 sets automation mode Ae.g. Trim3'eadE for new tracks. 7efau/% %rac( $eig$% in ne' pro:ec%s2 choose from small, medium and large. 6$o' in )i4er2 whether or not new tracks by default are shown in i,er. 3ain Eparen%F send2 whether send to aster Atop level tracksE or parent folder Achild tracksE is by default enabled for new tracks. Free i%e) posi%ioning2 whether F*P is by default enabled for new tracks. Record-ar)2 whether new tracks are automatically armed for recording. Record config2 click on button to set default recording settings for new tracks, e.g. whether monitoring is on, whether to record audio input or *D*, default input source. 6end defau/% gain2 default volume fader level for new track sends. ,ard'are ou%pu% defau/% gain2 default volume fader level for new hardware sends. 6ends&$ard'are ou%pu% defau/% )ode2 default send type Ae.g. Post fader3Post panE. 6ends > by defau/%2 whether sends by default include audio or *D* or both.

6ends&-rac( ,ard'are *u%pu%s

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#9 - REAPER<s Preferences and *%$er 6e%%ings

#9.A.! 3edia 1%e) 7efau/%s

'()P(':s 3edia 1%e) 7efau/%s include2 =hether to use automatic fade.ins3fade.outs on new items, and if so how long they should be. =hether to overlap and split crossfade items, and if so by how much. Default fade and cross fade shapes. =hether right.clicking on one side of crossfade set should change only that side Ause 6$if% to toggleE. =hether to allow automatic fades and crossfades for =hether to loop source imported items and3or new *D* note velocity. *D* items and3or recorded items.

=hether time selection auto.punch audio recording should create a loopable section.

#9.4

Audio 9onfigura%ion and 6e%%ings

=eIve already mentioned AChapter %E the Audio 7evice screen Ain the Preferences windowE, but itIs worth discussing this topic a little more. Two important issues in the digital audio world concern buffers and /a%ency. -nderstanding what these terms mean will help you in obtaining the optimum settings for your system. /etting buffer si<e right is essential if you are to get the best performance from your audio interface. them too small and you:ll get audio clicks and pops^ make them too large you:ll notice delays in your headphones when youIre input monitoring, especially with software synthesi<ers. ake

The goal is to achieve the lowest possible latency without e,periencing dropouts. The optimum setting depends on a number of things, not least of which are the audio interface APC* sound card, firewire or -D> deviceE that you are using, your PCIs characteristics, as well as which software youIre running. The use of plug.ins can also increase latency, some more than others. Consider what happens when you are working at your D)=. )s you play back your tracks, a constant stream of data passes from your hard disk and3or ') to your sound card. )mongst other things, this converts the digital data to an analog form, so that it can be sent to, and heard thru, your speakers or headphones. =hen you record the reverse happens G the incoming analog audio stream has to be converted to a digital format so that it can be stored on your hard disk. =hen you are overdubbing, both of these activities are going on at the same time. *ndeed, with input monitoring, the track or tracks being recorded are actually being fed into the computer in analog form, converted to digital, processed, then converted back to analog again as they are fed back to your headphones. Oatency is a measure of this delay. *ncidentally, you can make this activity easier if your audio device itself supports input monitoring. *n this case, the incoming audio stream that is being recorded is fed straight back into your headphones before it even gets into the computer.

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Up and Running: A REAPER User Guide v 4.59

)s if this wasnIt complicated enough, remember that =indows is performing all sorts of other tasks at the same time as you are recording. *f you donIt believe this, @ust bring up Task anager some time, check the Processes page and have a look. ThatIs what we mean by )u/%i%as(ing. Do how is =indows able to keep up with its other QQ or so tasks at the same time as handling your recording4 *t does so by dividing its resources between all the tasks at hand. *n order to maintain a constant audio stream, small amounts of memory are allocated to storing this audio stream. These areas are called buffers. Thus, as you play back your audio, =indows hands over to your sound card a block of audio that the sound card releases at a steady rate to your e,ternal amplifier. *f it empties these buffers before =indows gets round to handing it some more, then youIve got a problem. The same principle applies, but in the reverse direction, when youIre recording. )nd again, when youIre layering or overdubbing, or using '()P('Is input monitoring, both activities are going on at the same time. *f the buffers are too small, youIll get gaps in the audio stream. These can lead to pops, crackles and in some cases even dropouts AthatIs when playback and3or recording @ust stops suddenly and une,pectedlyE. aking buffers larger is usually enough to fi, this problem, but it brings with it another. ake them too large, and the data at the end of the buffer has a long wait before it is processed. ThatIs when you e,perience unacceptably large latency, such as the delay between pressing a keyboard and hearing the note in your headphones. )D*B drivers generally offer better latency than do others. )s a rule, the preferred order is )D*B, =D , Direct; and (, in that order. This is where the A61* 9onfigura%ion button on the Audio 7evice screen is so important Aassuming, of course that you are using )D*B driversE. -$e s)a//er %$e buffer siDe? %$e grea%er %$e /oad on your co)pu%erNs 9PU. Do after making changes to your buffer si<e, check the CP- usage on '()P('Is Performance eter. Kou can use this fact to your advantage when mi,ing. )s a rule, low levels of latency are only really needed for recording, not when you are only playing audio back. Therefore, if you find that you are pushing your CP- close to its limits, you will often be able to fi, this by accessing your audio cardIs control software and increasing the buffer si<e. Finally. $ust a word about 6a)p/e Ra%e. This also affects CPusage. /oing from &&%"" to 66!"" doubles CP- usage. This is an area about which there is much debate, but in reality few of us have ears that can really detect whether a track has been recorded at &&%"" or at 66!"". Test this out for yourself and see what you think. )nother important aspect of your )udio preferences is your 3171 7evices settings page. This has been covered in Chapter %.

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#9 - REAPER<s Preferences and *%$er 6e%%ings

#9.5 Audio Preferences

This page presents you with a range of audio preferences and options. any, if not most, users will find they can leave at least the first half do<en or so of these at their default settings and forget them. =hether to 9/ose audio device '$en s%opped and app/ica%ion inac%ive . (nabled, this allows you to have other audio programs Asuch as Dound ForgeE open at the same time as '()P(',and for you to be able to switch easily between them. 9/ose audio device '$en inac%ive and %rac(s are record ar)ed . Oeave this unselected if you want '()P(' not to share your audio device with other programs when you have record armed tracks. 9/ose audio device '$en s%opped and ac%ive . *f enabled, '()P(' will automatically close audio devices when audio is not being played back. (nabling +arn '$en unab/e %o open audio&3171 devices could potentially help you to troubleshoot if you encounter hardware interface issues. (nabling the option 7o no% process )u%ed %rac(s could lessen the load placed on your CP-. 6o/os defau/%s %o in-p/ace so/o. *f enabled, when you solo a track you will hear along with that track the audio output of any other tracks with receives from that track. Disabling this ensures that you will hear only the soloed track. *n either event, holding A/% while clicking solo will reverse your default option. 6o/o in fron% allows you to hear Huietly in the background your other tracks when one or more tracks are soloed. This may help you to place more in conte,t the track that is being auditioned. The feature itself is enabled3disabled from the *p%ions menu2 in your preferences you can set your preferred d> level for the background material. Kou can Au%o)a%ica//y )u%e any %rac( or only the 3as%er %rac( when a specified d> limit is reached. This option can help protect your ears, your speakers and your sound card+ ) third option is =o au%o)a%ic )u%ing. There is also an option to Rese% Aclear auto mutesE on playback start. 9$anne/ na)ing&)apping. This feature enables you to give your own meaningful names to your audio input and output devices. *t is e,plained in detail in Chapter %. Butput to be used for 3e%rono)e *u%pu%.

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#9.5.# Audio 5uffering

=hile we:re looking at optimising audio, the Audio 5uffering page of the Preferences window contain a number of customi<ation options.

The option to 7isab/e )edia buffering for %rac(s %$a% are se/ec%ed can be useful if you are using a third party plug.in that does not respond well to buffering. Btherwise, if you are not technically minded you would be best advised to leave most of these settings at their default values. *f your computer has two or more processors, you might find the following options useful. An%icipa%ive F8 processing has benefits for both multiprocessor and single processor systems. Bn single processors it makes '()P(' more tolerant of lower interface latencies Aand more resistant to plug.ins that do larger block.based processing, such as 'eaSerb and 'eaFirE. Bn multiprocessor3multicore systems it also allows for very significant multiprocessor usage. (nabling this feature may allow improved latency. ?otice also that clicking on the Advanced 7is( 1* *p%ions button brings up the selection of options shown on the right. *f unsure about what you are doing, it:s better to leave these settings at their defaults. )ny changes that you do make should not come into effect until after you have closed and reopened your pro@ect file.

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#9 - REAPER<s Preferences and *%$er 6e%%ings

#9.5.! Audio P/aybac(

)mong the useful options on this page are2 =hether or not to s%op& repea% p/aybac( a% pro:ec% end. =hether to s%op p/aybac( a% %$e end of a /oop if repeat is disabled. =hether to scro// %$e vie' %o %$e edi% cursor posi%ion '$en p/aybac( is s%opped. =hether to au%o-scro// when viewing other parts of a pro@ect. =hether to run F8 af%er p/aybac( is s%opped2 this can be good for evaluating the 9after effect9 of delay based plug.ins such as reverb and chorus. =hether to enab/e scrubbing and :ogging, and if so what options to apply in its implementation Asuch as limiting @og speedE. ?ote that there is also a command on the *p%ions menu to enable3disable 9on%inuous scro//ing.

#9.5.A

Audio 6ee(ing

Bptions include2 =hether to see( p/aybac( Arepositioning the play cursorE when clicking on any of the top ruler, empty areas of tracks, and3or empty areas below tracks. Disabling any of these will enable you to click or click and drag in arrange view Afor e,ample, on the ruler to define a loop, or in the empty area between tracks to define a time selectionE without affecting e,isting playback. =hether to see( p/aybac( '$en /oop poin%s are c$anged and3or *n/y '$en repea% is enab/ed. =hether to see( p/aybac( '$en an i%e) is )oved&siDed or $as i%s fade ad:us%ed . =hether playback position should fo//o' %$e pro:ec% %i)ebase '$en c$anging %e)po . =hether to use s)oo%$ see(2 this enables you to allow playback to continue to the end of a specified number of measures, or to the ne,t marker or end of region, before seeking.

#9.5.4

Audio Recording

Audio Recording preferences are detailed and e,plained in Chapter 1. For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) 1RP

Up and Running: A REAPER User Guide v 4.59

#9.5.5 Audio .oop Recording

This page of settings determines how '()P(' behaves when loop recording. 7iscard inco)p/e%e firs% or /as% %a(es if a% /eas% one fu// /oop 'as recorded. This prevents annoying and unwanted partial takes being saved, as might be caused if you are a tad slow in stopping recording. 3171 recording 'i%$in e)p%y %i)e se/ec%ion a/'ays crea%es se/ec%ion-/eng%$ )edia i%e). (nable this to ensure *D* media item matches time selection length. Add recorded )edia %o pro:ec% on s%op. (nsures that media will not be added to the pro@ect until recording is stopped. Bptionally, you can crea%e ne' fi/es for each recorded pass thru the loop. Add recorded )edia %o pro:ec% a% eac$ /oop. (nsures that recorded media is added on the fly after each pass thru the loop.

#9.5.@

Audio Rendering

These are found on the page after Audio .oop Recording preferences. They are rather technical2 if you are unsure of what to do, leave them at their system defaults2 >lock si<e to use when rendering samples. *f in doubt, leave blank. =hether to allow anticipative F; processing. This may lead to better multiprocessing performance Adefault is onE. =hether to limit apply F;3'ender stems to realtime Adefault is offE. =hether to process all tracks Aincluding if appropriate muted and3or unsoloed tracksE when rendering. akes rendering slower, but some plug.ins might need this. =hen free<ing, whether to render entire track length if there are track or per take F;.

#9.@

Appearance Preferences

The Appearance screen itself lets you specify various parameters that help determine the appearance of your '()P(' interface, especially the Track Control Panel and i,er. Mere is a summary of some of the options2 3isce//aneous Appearance 6e%%ings include2 =hether to use %oo/%ips for U1 e/e)en%s such as buttons and faders, media items and envelopes, etc.2 if so you can specify the length of any delay that should be allowed before the tooltip is displayed. The 'id%$ Ein pi4e/sF of %$e p/ay cursor. Default is % pi,el, but you can make this wider.

=hether to s$o' %$e /as% undo even% on %$e )enu bar A@ust after the Melp commandE. *f you enable this option, clicking on the action shown will open the -ndo Mistory window.
=hether to s$o' guide/ines '$en edi%ing. This can be an aid to editing. =hether to app/y so/id edges to time selection highlights. and3or loop highlights. =hether to /i)i% %$e sca/ing of %oo/bar bu%%ons. (nabling both these options will prevent the buttons from becoming smaller or larger if you resi<e the main or floating toolbar. =hether to enclose f/oa%ing %oo/bar 'indo's in fra)es. Docker %ab disp/ay options, including whether to show tab close buttons. =u)ber of pi4e/s %o /eave be%'een ad:acen% %rac(s G i.e., between the bottom of one media item and the top of the one underneath it. ) higher setting may make defining time selections easier. 3a4i)u) nu)ber of /anes %o be used '$en s$o'ing over/apping i%e)s . ) lower setting here A! to &E can help prevent screen clutter. -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 1RR

#9 - REAPER<s Preferences and *%$er 6e%%ings

-rac( 9on%ro/ Pane/ and Enve/ope 6e%%ings include2 =hether to use cus%o) %rac( co/ors as a background color on track labels Ain TCP and mi,erE and whether to %in% %rac( pane/s Ain TCP and mi,erE with custom track colors. =hether to use %rac( grouping indica%ors, and if so which ones. =hether to use fi//ed au%o)a%ion enve/opes2 enabled, this colors the area below the envelope and may make its shape easier for the eye to discern. Dhowing this over media items can be disabled. =hether to s$o' fain% )edia pea(s be$ind enve/opes in envelope lanes. =hether to s$o' $oriDon%a/ grid /ines in automation lanes.

#9.@.#

Appearance 3edia

For the most part these fall into two main groups G 3edia i%e) /abe/s and 3edia i%e) bu%%ons. 3edia i%e) /abe/s2 =hether to disp/ay i%e) %a(e na)es and3or )edia i%e) pi%c$&p/ay ra%e and3or gain Aif setE. *f showing any of these you can choose whether to dra' /abe/s above %$e i%e) ra%$er %$an 'i%$in %$e i%e). *f you enable this option you can also specify E4cep% '$en )edia i%e) $eig$% is /ess %$an /abe/ $eig$%. This will cause the label to be moved to inside the media item when the item lane height is less than the label height but also more than ,ide /abe/s '$en )edia i%e) %a(e /ane $eig$% is /ess %$an > setting. Kou can also decide whether to use a so/id bac(ground for easier reading and '$e%$er %o s$o' /abe/s '$en i%e) edges are no% visib/e. The second of these options will ensure that the labels remain visible as the pro@ect scrolls past the beginning of items. Kou can also determine how rate3pitch data is shown G e.g. normal, abbreviated, or numbers. For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) 1R#

Up and Running: A REAPER User Guide v 4.59

3edia i%e) bu%%ons: ostly these are paired Ae.g. Oocked3-nlocked, uted3-nmuted, F;3?o F;E. Choose which of these buttons you want displayed over or above your media items. Ad:us% )edia i%e) vo/u)e by dragging. Kou can choose either to use either a small rotary knob for this, or to use the top edge of the media items as a handle.

#9.@.!

Appearance? Pea(s&+avefor)s

This page contains a number of options which between them help determine the appearance of your peaks and waveforms and, indeed, whether they are shown at all. Kou can specify whether you wish to 7isp/ay pea(s for )edia i%e)s and3or 7isp/ay pea(s '$i/e recording. Kou can also choose not to show peaks for unselected tracks and3or muted3unsoloed tracks G *n/y disp/ay pea(s for %rac(s %$a% are se/ec%ed and *n/y disp/ay pea(s for %rac(s %$a% are so/oed or no% )u%ed will give you this. An%ia/ising is a technical issue. /oogle if you wish to learn more, but, in short, enabling antialiasing may give you a more accurate representation2 disabling it may cause your peaks to be drawn3redrawn more Huickly. The only difference that edges make is cosmetic. (nable these options, for e,ample, if you like your peaks bordered when using custom colors, disable them if you don:t. Kou can opt to Au%o)a%ica//y sca/e 3171 no%es and3or dru) 3171 to fit the item as displayed in arrange view. There are also options to 7ra' 'avefor) Dero /ines above pea(s&'avefor)s and to Fi// 'avefor)s %o Dero /ine. The option to 6ca/e pea(s by pre-f4 vo/u)e&pan enve/opes should be enabled if you want the peaks on your media items to be ad@usted according to any pre F; envelope volume changes. ?otice too that you can choose when closely <oomed in to your material to view the waveforms as Dots and lines, Filled samples, Butlined samples, Dtepped samples or Dmooth. (nabling 7ra' fain% pea(s in fo/der %rac(s allows the output of a folder:s child tracks to be displayed as waveforms in the folder:s lane in arrange view. 6a)p/e /eve/ 'avefor) vie' determines how waveforms are displayed when <oomed in so close as to be able to identify individual samples G e.g., dots and lines, filled, outlined, stepped or smooth samples. 9us%o) 9o/ors. Kou have the options to -in% )edia i%e) 'avefor) pea(s or -in% i%e) bac(ground to any of -rac( 9o/or, 1%e) 9o/or or -a(e 9o/or. *f more than one option is enabled, then the lowest level has precedence. That is, take color wins over item color which wins over track color. Kou can also specify your reHuired %in% s%reng%$ to be used for media item backgrounds, within a range of " to &, where ! is the system default. )lso in this section is the option Au%o)a%ica//y co/or any recording pass %$a% adds %a(es %o e4is%ing )edia i%e)s. This can help to give a clearer picture when you are working with multiple takes.

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#9 - REAPER<s Preferences and *%$er 6e%%ings

#[email protected] Appearance Fades&9rossfades

These options give you more precise control over media item fades and crossfades. Kou can specify a minimum item 'id%$ and3or $eig$% reHuired before a fade can be edited. Kou can enab/e or disab/e )ouse edi%ing of fade curves and3or fade starts and ends.

Kou can decide under which circumstances you do and do not want fade handles and crossfade edi%ing $and/es to be displayed. Kou can indicate whether or not you want crossfade edi%or %$e)e co/ors to be used. #[email protected] Appearance? VU 3e%ers&Faders The first four items on this page set 3e%er upda%e freIuency, 3e%er decay ra%e, 3e%er )ini)u) va/ue and 3e%er )a4 va/ue. -nless you have good reason to change them, leave them at their system defaults. There are nine other options which together define how your track meters will appear. Bf special interest are2 Rese% )e%er pea( indica%ors on p/ay see(. Disable this to keep the e,isting peak level displayed Auntil e,ceededE when you re.commence playback. 6%ic(y c/ip indica%ors AenabledE ensure that peaks on the S- meter are marked with a bar for a few moments after they have passed. 6$o' d5 sca/es on %rac( )e%ers if enabled will cause the d> scale to be marked, in numerals, on your S- meters. The final two options are fader option which can be used to restrict the ad@ustable range of your volume and3or pan faders. Kou can also specify whether pan fader uni%s should be displayed as ranging from %""LO to %""L' or from .Q" d> to WQ" d>. #[email protected] Appearance? -$e)e Edi%or The ne,t settings page, Appearance? -$e)e Edi%or, is covered in Chapters &, %" and %%.

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Up and Running: A REAPER User Guide v 4.59

#9.B Edi%ing 5e$avior Preferences

The Edi%ing 5e$avior page of the *p%ions? Preferences window Ashown aboveE includes a number of areas in which you can specify default settings in a range of matters that will affect how you work when editing your '()P(' pro@ects. Mere is a summary of some of the most useful options2 Kou can specify your edi% cursor be$avior, in particular to specify which of the following actions should cause the edit cursor to be moved2 Changing time selection, Pasting or inserting media, Dtopping recording Kou can allow s$if% c/ic(&con%ro/ c/ic( to override your move edit cursor assignments. Kou can by default link Aor unlinkE time selection and loop points. Kou can enable or disable loop points to be cleared by clicking on the ruler, and3or time selection to be cleared by clicking in arrange view. Think how you want to use these options. For e,ample, if you want to click on the ruler as a means of repositioning the edit cursor then you probably won:t want loop points automatically cleared. Kou can specify your Qoo) preferences. Ver%ica/ Doo) options are Track at center of view, Top visible track, Oast selected track or Track under mouse cursor. ,oriDon%a/ Doo) options are (dit or play cursor, (dit cursor only, Centre of view or ouse cursor. *f in both cases you choose the mouse cursor option you will ensure that as you <oom whatever is under the mouse cursor will stay on screen. Kou can set the %ab %o %ransien% sensi%ivi%y and specify whether to -ab %$ru 3171 no%es and3or -rea% )edia i%e) edges as %ransien%s. 7ua/ %ri) op%ions Afor editing shared media item edgesE. =hether to au%o)a%ica//y de/e%e e)p%y %rac(s created when dragging items below last track. =hether slip.editing the start of an active take will also ad@ust all other takes. =hether to split3trim3delete all items at edit cursor if splitting3trimming3deleting with no items selected. Disabling this will prevent, for e,ample, all items being split if you press 6 with no item selected.

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#9 - REAPER<s Preferences and *%$er 6e%%ings

#9.B.# Edi%ing 5e$avior? Enve/ope 7isp/ay

Kou can specify various diverse envelope editing options, including2 Delecting the decibel range within which vo/u)e envelopes can be ad@usted. Dpecifying a semitone range for per take pitch envelopes, also whether or not to snap. Dpecifying a display range Abeats per minuteE for the master pro:ec% %e)po )ap enve/ope. =hether or not to 6$o' ne' enve/opes in separa%e enve/ope /anes by default. =hen drawn over media, overlap envelopes if each is less than , pi,els high. (nabling this option may create a more cluttered visual effect, but it will allow more height for editing envelope points. =hether to se% %$e focus %o ne' envelopes as they are added. This automatically selects them for editing, etc. =hether enve/ope poin%s are also selected with a %i)e se/ec%ion. =hether the first click on an an unselected envelope will insert a point2 check also your mouse modifier settings. =hether to add a %ransi%ion poin% on stopping playback after recording automation. =hether or not to Au%o)a%ica//y s$o' affec%ed enve/opes '$en )oving da%a across %rac(s . Dhowing these can sometimes be visually confusing. =hether 9$anging %$e enve/ope s$o'n in any /ane should cause the envelope previously there to be hidden or moved to the media lane. =hether edge poin%s Aat start and end of time selectionE are added to envelopes when points are moved, or when ripple editing, or when inserting time. Kou can also sepcify a reHuired transition time for automatically created envelope points.

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Up and Running: A REAPER User Guide v 4.59

#9.B.! Edi%ing 5e$avior? Au%o)a%ion

=hether to Au%o)a%ica//y add enve/opes when you ad@ust any parameters with write mode enabled. This makes creating envelopes fast and snappy, but means that with write mode enabled you will not be able to ad@ust any parameters without creating envelopes for them. =hether to disp/ay read au%o)a%ion feedbac( fro) $idden enve/opes. For e,ample, if you have a volume envelope that is hidden, enabling this option will allow the volume fader to automatically move with changes in volume, even though the envelope is hidden, providing read mode is enabled. *n +ri%e mode, whether to app/y para)e%er c$anges %o $idden enve/opes . Bnly enable this if you are sure about what you are doing2 otherwise you risk making accidental changes to envelopes. =hether to add %ransi%ion poin%s '$en recording au%o)a%ion '$i/e p/aybac( is s%opped . =hether to reduce enve/ope poin% da%a when recording or drawing automation. ?ot enabling this can lead to more points being created than you might like. +$en pan&vo/u)e enve/opes are added, '$e%$er %ri) is rese% when the envelope is drawn. Bptions are )lways, *n read3write mode only, or ?ever. Detting this to ?ever may make the manual editing of such envelopes easier Aby leaving you plenty of room both above and below the envelopeE. Af%er recording au%o)a%ion in 'ri%e )ode '$e%$er %o au%o)a%ica//y s'i%c$ %o one of %$e o%$er )odes. The trim3read option is handy if you are inclined to forget to do this manually+

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#9 - REAPER<s Preferences and *%$er 6e%%ings

#9.B.A Edi%ing 5e$avior? 3ouse Preferences

The 3ouse page of the *p%ions? Preferences? Edi%ing 5e$avior window A aboveE is used to determine specify how you would like your mouse to behave in '()P('. Mere is a summary of some useful options2 3ouse'$ee/ %arge%s2 whether your mousewheel acts on the window currently underneath the mouse or on the last window to have focus. This, for e,ample, allows you to use the mousewheel to ad@ust the parameters of an open F; window without first having to click on the window to give it focus. Focus can remain with your mi,er, or arrange view, or wherever you were before. For e,ample, Esc would then clear the current time selection rather than close the F; window. =hether to use or 1gnore %$e )ouse'$ee/ on a// faders. (nabling this and3or the ne,t two options can help prevent those of us who tend to be heavy handed from accidentally changing faders levels. =hether to use or 1gnore %$e )ouse'$ee/ on %rac( pane/ faders. =hether to use or 1gnore %$e )ouse'$ee/ over %ranspor% edi% fie/ds. *f disabled, you can edit te,t fields such as >P and play rate @ust by scrolling your mousewheel over the field. =hether to treat scrolling a /ap%op %rac(pad as being like using a mousewheel. =hether 3ouse c/ic( on %rac( fader or bu%%on causes that track to become the currently selected track. Disabling this allows you to ad@ust track faders, etc. without changing the track selection. =hether to reHuire a sing/e click or a doub/e click when edi%ing %rac( na)es. =hether 3ouse c/ic(&edi% in %rac( vie' c$anges %$e %rac( se/ec%ion . (nabling this will ensure that track selection will follow media item selection. =hether to A//o' )odifying edges of %i)e se/ec%ion over i%e)s in %rac(s . (nabling this means that you can click and drag over a track Aas well as between tracksE to ad@ust the start or end of a time selection without affecting item selection.

*n addition, for *6 8 users on a ac, there is an option 9%r/ /ef% c/ic( e)u/a%es rig$% c/ic(. Mowever, it is a better practice to use your Dystem Preferences to enable right.clicking. The topic of 3ouse 3odifier preferences is covered e,tensively in Chapter %1 and elsewhere.

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Up and Running: A REAPER User Guide v 4.59

#9.B.4 Edi%ing Preferences? 3171 Edi%or

F/as$ 3171 edi%or (eys on %rac( inpu%2 if enabled, causes a brief color flash to be displayed on the *D* editor keyboard when the track receives *D* note.on input. R5= friend/y 3171 edi%or se%%ings: allows '()P(':s *D* editor to behave in a way compatible with '>? A'ock>andE *D* authoring. For e,ample, lyric events will be attached only to playable notes. ,oriDon%a/ grid /ines in 99 /anes2 toggles the option to show hori<ontal grid lines on and off. Even%s per Iuar%er no%e '$en dra'ing in 99 /anes . Dpecific event density or <oom dependent. *ne 3171 edi%or per > Delect whether a separate *D* editor instance is reHuired for each item, or for each track, or one instance for the entire pro@ect. Depending on your choice you may have other options. 5e$avior for open i%e)s in bui/%-in 3171 edi%or2 *f *ne 3171 edi%or per pro:ec% is selected, specify whether to open c/ic(ed i%e) on/y, a// se/ec%ed 3171 i%e)s, a// 3171 i%e)s on %$e sa)e %rac( or a// 3171 i%e)s in %$e pro:ec%. *f *ne 3171 edi%or per pro:ec% is selected, you also have four more toggle options. These are2 Ac%ive 3171 i%e) fo//o's se/ec%ion c$ange in arrange vie' . This option is also available if *ne 3171 edi%or per %rac( is selected. =hether to make *n/y 3171 i%e)s on %$e sa)e %rac( as %$e ac%ive i%e) edi%ab/e . =hether to 9/ear edi%or '$en c$anging ac%ive 3171 i%e) . =hether to 9/ose 3171 edi%or '$en %$e ac%ive 3171 edi%or is de/e%ed in arrange vie' . 7oub/e-c/ic( be$avior2 =hether double.clicking a note should switch the active media item and, if so, whether this should occur only when the media item is on the same track and3or already editable. =hether doub/e-c/ic(ing ou%side %$e bounds of a )edia i%e) s$ou/d e4%end %$a% )edia i%e) . Bption to display a panel showing more information about multiple media items in a single *D* editor. Det *paci%y for no%es&99 in inac%ive )edia i%e)s. The higher the number, the darker these notes will appear. 7efau/% no%e co/or )ap2 allows you to specify your own default note color map.

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#9 - REAPER<s Preferences and *%$er 6e%%ings

#9.C 3edia Preferences

The 3edia page of the *p%ions? Preferences window lets you customi<e your summary of some of the options that you might find most useful. 1%e) 3edia 6e%%ings Purpose

edia settings. Mere is a

+avefor) )edia pea( cac$e se%%ings

3edia i%e) edi%ing se%%ings

+$en inser%ing )u/%ip/e )edia i%e)s2 Kou can choose whether the default behavior should be to insert as separate tracks, to insert seHuentially in a single track, for '()P(' to determine which appears the more appropriate, or whether you wish to be prompted each time. 9opy inser%ed )edia i%e)s %o pro:ec% )edia direc%ory 2 =hen enabled, this ensures that a copy of any media items inserted into a pro@ect will be made and stored in the pro@ect directory. This helps you to keep together all those files that belong together. =hether to use the media file name to Au%o)a%ica//y na)e unna)ed %rac(s on )edia i)por%. Genera%e pea( cac$es2 Kou can determine the circumstances in which you want peak caches to be generated. 7esired cac$e reso/u%ion2 Determines the precision used for media peaks. Bption to Pu% ne' pea( fi/es in pea(s&subfo/ders re/a%ive %o )edia . Bptions to use an A/%erna%e pea( cac$e pa%$. 3edia i%e) vo/u)e ad:us%)en% range2 Dets this to .inf to " d> or .inf toWR d>. 7up/ica%e %a(e F8 '$en sp/i%%ing2 Determines whether any e,isting F; in an item:s F; chain are automatically copied to new items that are created when the original item is split.

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Up and Running: A REAPER User Guide v 4.59

#9.C.# 3edia? 3171 Preferences

3171 oc%ave na)e disp/ay offse%2 by default, middle C A *D* note R"E is labelled C&. )n offset of, say, .% would cause this to become C1, and so on. The 6end a//-no%es-off option is intended to stop hanging notes when record arm is disabled. A//o' %ri) of 3171 i%e)s '$en sp/i%%ing will add a note.off message for any note that spans the split point when a *D* item is split. Poo/ 3171 source da%a is discussed and e,plained in Chapter %!. Kou can disable this if you prefer. *tems created or imported as '()P(' 3171 i%e)s Arather than . *D filesE can be better edited in the *D* (ditor. .317 fi/es are more portable between apps. Kou can, of course, create them as *D* items and later e,port to file if you wish. Ticks per Huarter note sets data resolution for new *D* items. The default setting of QR" eHuates to ! ticks per microsecond at %!" bpm. Kou can specify when 1)por%ing )u/%ic$anne/ 3171 fi/es whether to do so as a series of single channel tracks, as one multichannel track, or always to prompt. 6nap be$avior can be set so that time signature changes in imported *D* files are set to whole bars, and that tempo changes in imported *D* files are set to whole beats. 3171 %e4% even%s are by default e,ported in )DC** format2 you have the option of changing this to -TF.6.

#9.C.!

3edia? Video&RE8&3isc Preferences

The Video options relate mostly to performance and playback Huality. Kou can select an engine for video decoding G SOC, FFmpeg or your operating system:s native format. The best permutations of settings will depend largely on which platform you are using Ae.g. =indows #E as well as your choice of video systems and format. *f you need help you should post to one of the '()P(' forums. The RE8 options include how you wish to 1)por% RE8 fi/e con%en%s. This can be as beat slices that will ad@ust to tempo changes, or as single loopable media items, or to prompt. Kou can specify whether RE8 s/ice %ai/s should be preserved, all chopped, all chopped e,cept the final slice, or only the final slice chopped. Finally, you have an option for determining how i)por%ed )edia 'i%$ e)bedded %e)po is to be handled. Kou can always ad@ust the media to pro@ect tempo, import it at its own tempo, or always prompt.

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#9 - REAPER<s Preferences and *%$er 6e%%ings

#9.9 P/ug-ins Preferences

Kour two Au%o)a%ica//y resiDe F8 'indo's options, if enabled, will ensure as you browse thru a track:s F; chain that the F; window is automatically resi<ed to suit the currently selected F;. Kou can specify if f/oa%ed F8 'indo's should automatically be placed on top, if ne'/y crea%ed F8 'indo's should be floated, and if windows should be automatically opened for F; added from the TCP and CP Huick.add conte,t menus. Kou can specify whether or not to au%o-doc( ne'/y crea%ed F8 'indo's and whether you want the Add F8 window opened automatically when you open an empty F; chain for a track or media item. *f you enable the option to *n/y a//o' one F8 c$ain 'indo' open a% a %i)e you may also specify whether you want the open window shown to change when you change track selection A *pen F8 'indo' on %rac( se/ec%ion c$angeE and whether this is to happen on/y if an F8 'indo' is open. Kou can also opt to have %rac( F8 added %o %$e i%e) F8 bu%%on rig$% c/ic( )enu. This enables you to open these F; directly from this button. Kou can also specify how many F; are to be shown on the conte,t menu Recen%/y added /is% and whether curren% %rac( F8 should be shown on the F; button conte,t menu.

#9.9.#

P/ug-ins? 9o)pa%ibi/i%y

The main options here concerns SDT bridging and firewalling. These are features designed to help protect '()P(' from crashing as a result of an unstable plug.in being used. The default option is for au%o)a%ic bridging to be applied when the program deems it necessary, but you can change this to *n separate plug.in process, *n dedicated process per plug.in, or Disable bridging. To follow discussions on what these options mean in practice in different situations you should consult the '()P(' forums.

#9.9.!

P/ug-ins? V6-

Kou have already seen Ain Chapter %E how to tell '()P(' the location of your SDT plugins, and how to ensure that these are enabled. *n addition, the V6- 9o)pa%ibi/i%y section offers a number of further options for controlling the behavior of your SDT plug.ins. Kour preferences in this category may likely to depend on which plug.ins you are using. *ndividual plug.ins vary so much that it would be virtually impossible to give very much meaningful general advice here. Kou may need to e,periment to get the best results. >e prepared to ask Huestions on the '()P(' forum or indeed on the plug.in supplier:s forums.

#9.9.A

P/ug-ins? Re+ire&78

'e=ire options include whether to show any already opened 'e=ire aware apps or devices as available F; in the F; window and whether to automatically open the native control panel for any 'e=ire application selected. There is an option to 9$ec( '$en s%ar%ing REAPER for any device a/ready open that is capable of acting as a 'e=ire master, and if so to open '()P(' in slave mode. There is also a dialog bo, where you can specify your Re+ire s/ave pro:ec% se%%ings. 7irec%-8 E78F plug.ins are by default Enab/ed. Kou can 6can for ne' 78 p/ug-ins manually or specify 6can for 78 p/ug-ins on startup.

#9.9.4 #9.9.5

P/ug-ins? Rea6crip% P/ug-ins? Rea3o%e

This topic is discussed briefly in Chapter !!. This topic is discussed briefly in Chapter !!. For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) 1##

Up and Running: A REAPER User Guide v 4.59

#9.#" 9us%o) U1 -'ea(s
The Genera/ page of the *p%ions? Preferences window includes an Advanced U1&6ys%e) %'ea(s button which enables you to further customi<e '()P('Is on.screen appearance. Clicking on this button displays a number of options including2 9us%o) 6p/as$ 6creen G ) .> P or .P?/ file. Use /arge 'indo' fra)es for windows. 6ca/e U1 E/e)en%s Asuch as buttons on toolbarsE. 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. Delect this option if you want track routing and envelope windows not to be closed automatically when they use focus. Advanced sys%e) and )u/%iprocessing %'ea(s. These options help determine the way '()P(' behaves on a system with two or more processors. They are considered e,perimental, should be used with caution, and may reHuire a restart of '()P('.

#9.## Pro:ec% and Fi/e 3anage)en%

Kou have already seen that when you save a '()P(' pro@ect file you have the option to create a subdirectory for that pro@ect, and to copy, move and store all of the pro@ectIs media files into that directory. aking use of this option will make it easier for you to keep track of your work. Mowever, you will most likely find that as a pro@ect evolves, it will accumulate any number of media items, such as re@ected tracks and overdubs, or deleted items that are no longer reHuired. Kou can easily remove these unwanted items, using the command Fi/e? 9/ean 9urren% Pro:ec% 7irec%ory. The location of the current pro@ect folder is displayed @ust below the Pro@ect Directory Cleanup title bar. *f you wish, you can click on the (,plore button to e,plore the folderIs entire contents. ?otice, however, that all the files present in the pro@ect directory but not belonging to the current pro@ect are listed in the Pro@ect Directory Cleanup window. To select any one file, @ust click on its name. To build a selection, hold the 9%r/ key while you click on each reHuired file name. To select all files in the list, click first on the first file name then, holding the 6$if% key, click on the last name in the list. Kou then have the option to either delete these files permanently from your hard drive, or to send them to the =indows 'ecycle >in Aas shown hereE. )fter making your selection, click on the Re)ove 6e/ec%ed Fi/es button to remove them. DonIt forget also to bac(up your work regularly, to a flash drive, e,ternal hard disk, CD or DSD, or more than one of these. The easiest way to back pro@ects up is to simply use the =indows file management system. -nlock your inner '()P(' with REAPER 4 Un/eas$ed2 1#6

#9 - REAPER<s Preferences and *%$er 6e%%ings

#9.#! 9us%o)iDing %$e Perfor)ance 3e%er
Kou can customi<e the information shown on the performance meter, making your selections from its conte,t menu Asee rightE. )mongst the items that can be displayed or hidden are2 CP- /raph CP- -se Disk -se ') -se Free Dystem ') F; CP- use The Performance eter can also be docked or undocked. =o%e2 The 'T A9'eal Time9E CP- meter measures the amount of CP- time used by the audio thread servicing the sound device. Dince it is measuring a single thread, it reflects only the CP- time used by one core, and gives you an indication of how much leeway you have in processing. *f you have anticipative F; enabled Aand few tracks record armedE, 'T CP- will generally be pretty low, as most things should be done asynchronously, allowing the real time thread to Huickly put things together.

#9.#A 9us%o)iDing Undo ,is%ory 5e$avior

)s already discussed AChapter !E, three important features of '()P(':s Genera/ preferences that enable you to customi<e your -ndo Mistory behavior are2 Dave -ndo Mistory with pro@ect files. )llow load of -ndo Mistory. Dtore multiple redo paths where possible.

)ll of these features can be selected from the Undo 6e%%ings section of the *p%ions? Preferences? Genera/ screen. *f you enable the option to 6%ore )u/%ip/e redo pa%$s '$ere possib/e then during your current work session, any time you use the -ndo Mistory window to go back to an earlier point, then any actions you take from that point on will be stored as an alternate set of actions to the set of actions already stored. '()P(' will remember both paths independently of each other. oreover, every time you return to that point, another new undo path will be created. )n e,ample is shown on the right. The highlighted action Add F8 %o 9$ain is flagged with EY!F. This means that in addition to the original set of actions, two more undo history paths e,ist where twice we have gone back to that point. >y right.clicking where shown, we are able to choose which undo state we wish to load, this enabling us to restore those commands and actions. *f you also enable the options to 6ave undo $is%ory 'i%$ pro:ec% fi/es and A//o' /oad of undo $is%ory, then this undo history will still be available to you ne,t time you use this pro@ect file, even if you have since closed '()P(' and shut down your computer.

For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) 1#Q

Up and Running: A REAPER User Guide v 4.59

#9.#4 Rese% REAPER 7efau/% 6e%%ings
'()P(':s default settings and configuration can be restored from the =indows Dtart menu. %. !. Click on the 6%ar% button then A// Progra)s. Click on REAPER then on REAPER Erese% configura%ion %o fac%ory defau/%sF.

>efore doing this, it can be wise to back up or e,port elements such as custom toolbars and menus, custom actions and shortcuts, mouse modifiers, color theme changes, etc. in case you want later to restore any of these.

#9.#5 6o)e *%$er REAPER *p%ions

The following are some of the items that appear on the *p%ions menu. any of these have been covered elsewhere in this -ser /uide. *n many cases the function of these commands is self.e,planatory2 Record )odes2 Dee chapter 1 Au%o-crossfade )edia i%e)s '$en edi%ing2 on3off toggle. -ri) con%en% be$ind )edia i%e)s '$en edi%ing 2 on3off toggle. 6$o' a// %a(es in /anes2 on3off toggle. -a(e /ane be$avior2 Dhow or hide empty take lanes. )llow3disallow selecting of empty take lanes. 6$o' over/apping )edia i%e)s in /anes2 on3off toggle. Ripp/e edi%ing2 three way toggle G off, per track or all tracks. 1%e) grouping enab/ed2 on3off toggle. 6nap&Grid2 enable snapping toggle, show grid toggle, access snap3grid settings. .oc(ing^ on3off toggle, access lock settings. 3e%rono)e&prero//2 on3off toggle, access metronome settings. Enve/ope poin%s2 sub menu of options also available by right.clicking on envelope button. .oop poin%s /in(ed %o %i)e se/ec%ion2 on3off toggle. Au%o)a%ica//y scro// vie' during p/aybac(2 on3off toggle. 6)oo%$ see(ing2 on3off toggle. E4%erna/ -i)ecode 6ync$ronisa%ion2 toggle synchronisation on3off, access to synchronisation settings. 6$o' REAPER resource pa%$ > 2 shows location of '()P(' resource files in =indows (,ploreror BD ; Finder type window. 9us%o)iDe )enus&%oo/bars...2 opens customi<e menu3toolbars window. -$e)es2 displays sub.menu of installed color themes.

.ayou%s2 displays sub.menu of track and mi,er layouts. Preferences2 opens Preferences window.

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!" - 3ain Rig$%-9/ic( 9on%e4% 3enus 6u))ary !" 3ain Rig$%-9/ic( 9on%e4% 3enus 6u))ary
*f you:ve got this far then you must have discovered how important right.click conte,t menus are in '()P('. 'ight click @ust about anywhere and a menu will pop up. That menu will depend on e,actly where the mouse is pointing when you click the right button. Point and right click over a track name or number in the track control panel or mi,er and the track control menu will be displayed. 'ight click over a track:s mute button and you:ll get a menu of various mute options. 'ight click over a media item and you:ll get a menu of command and actions used for managing, editing or processing media items. any of these have already been e,plained in the preceding chapters. There isn:t room here to review every one of '()P(':s right click conte,t menus in detail, but in this section you:ll find a summary of the ma@or ones.

!".# -$e -rac( 9on%ro/ Pane/ 9on%e4% 3enu

This menu is accessed by right.clicking over a track name or number, or over any part of its control panel that does not show a track control.
9o))and 1nser% ne' %rac( 9o))en%s *nserts a new track after the currently selected track. *nserts new track after last track in pro@ect. *nserts and builds SDTi3D;i on new track. *nserts a new track based on any e,isting template. Bffers you a submenu of templates. Daves all tracks in current selection as a single track template. 'emoves AdeletesE any track or tracks currently selected. Creates a duplicate of any track or tracks currently selected, immediately below the original track. Bffers a sub.menu from which to choose an option for stem rendering or free<ing the current track selection. Bffers a sub.menu of2 6$o' 3171 %rac( con%ro/ pane/ .in( %rac( vo/u)e&pan %o a// 3171 c$anne/s .in( %rac( vo/u)e&pan %o VspecifiedW 3171 c$anne/ Toggles lock status of all parameter controls on selected trackAsE. Toggles free item positioning mode on and off for selected tracks. Toggles automatic record arm status for current track selection. Toggles display of out put of all channels in track meter if the track consists of more than ! channels. Toggles display of Track anager window. Displays a sub.menu of track coloring options. Displays a sub menu to show or hide icons for selected tracks. Displays a sub.menu to set the timebase of selected tracks to Pro@ect timebase AdefaultE, time, beats Aposition, length rateE or beats Aposition onlyE. Displays a sub.menu to set automation mode for selected tracks to Trim3'ead, 'ead, Touch, Oatch or =rite.

1nser% ne' %rac( a% end of %rac( /is%

1nser% vir%ua/ ins%ru)en% on ne' %rac( > 1nser% %rac( fro) %e)p/a%e 6ave %rac(s as %rac( %e)p/a%e > Re)ove %rac(s 7up/ica%e %rac(s Render&freeDe %rac(s 3171 %rac( con%ro/s

.oc( %rac( con%ro/s Enab/e %rac( free i%e) posi%ioning Au%o)a%ic record-ar) '$en %rac( se/ec%ed 3u/%ic$anne/ %rac( )e%ering -rac( 3anager Es$o'&$ide %rac(sF -rac( co/or -rac( icon 6e% %rac( %i)ebase

6e% %rac( au%o)a%ion )ode

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Up and Running: A REAPER User Guide v 4.59

9o))and -rac( perfor)ance op%ions 6e% %rac( /ayou% Enve/opes -rac( grouping para)e%ers > -rac( grouping enab/ed 9o))en%s Displays a sub.menu to enable3disable anticipative F; processing and3or media buffering for selected tracks. Displays a sub.menu to choose a custom TCP and3or for selected tracks. Displays envelopes management sub.menu. odify parameter settings for track groups. (nables3disables track grouping for selected tracks. CP layout

!".! -$e E)p%y -rac( .is% Area 9on%e4% 3enu

This menu is accessed by right.clicking anywhere in the empty area below the track list in the track pane area.
9o))and 1nser% ne' %rac( 1nser% )u/%ip/e %rac(s 1nser% vir%ua/ ins%ru)en% on ne' %rac( 1nser% %rac( fro) %e)p/a%e 6$o' )as%er %rac( 9o))en%s *nserts a new track below currently selected track. )llows you to insert more than one track at a time. *nserts a new track for a SDTi along with multichannel outputs if reHuired. *nserts new track from any template you select. Toggles on and off the display of the master track.

!".A

-$e -i)e/ine and Ru/er 9on%e4% 3enu

This menu is accessed by right clicking the mouse in any of the following areas2 Bver the 'uler or Timeline displayed above the first track Asee rightE. Bver the blank area above the ruler. Bver the empty background area in the Track Siew area. )n e,planation of the menu follows.
9o))and Re)ove se/ec%ion Qoo) se/ec%ion 6e% se/ec%ion %o i%e)s 9o))en%s Deselects current time selection. 'emoving the selection does not cause any media items to be deleted. Toom to current time selection. akes the selection along the timeline for the whole pro@ect the same as the portion of the timeline covered by the currently selected item or items. (,tends the area of the selection to the ne,t transient. *nserts marker and opens the )dd current cursor position. arker dialog bo, at the

E4%end se/ec%ion %o ne4% %ransien% in i%e)s 1nser% )ar(er > 9rea%e region fro) se/ec%ion 1nser% %i)e signa%ure )ar(er> Re)ove a// )ar(ers fro) %i)e se/ec%ion

Creates a region from the current selection. )llows you to insert a time signature marker at the current cursor position. 'emoves all markers from the currently selected area.

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!" - 3ain Rig$%-9/ic( 9on%e4% 3enus 6u))ary

9o))and 6e% pro:ec% %e)po fro) %i)e se/ec%ion> 9rea%e )easure fro) %i)e se/ec%ion Ede%ec% %e)poF > 9rea%e )easure fro) %i)e se/ec%ion Ene' %i)e signa%ureF > 9rop pro:ec% %o se/ec%ion 1nser% 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 6p/i% i%e)s a% cursor 6p/i% i%e)s a% %i)e se/ec%ion 6e/ec% A// 9opy se/ec%ed area of i%e)s 9opy /oop of se/ec%ed area of i%e)s 3inu%es : 6econds 3easures O 5ea%s E3:6 secondaryF 3easures O 5ea%s 6econds 6a)p/es ,ours : 3inu%es : 6econds : Fra)es 9o))en%s Creates pro@ect tempo based on time selection Athree optionsE. Creates a new measure from the current time selection according to the si<e of the time selection. Creates a new measure from the current time selection with a new time signature. Crops all media items in the pro@ect to the current time selection. *nserts an empty space eHual to the currently selected area into all tracks in the current pro@ect. (ffectively deletes the currently selected area from the pro@ect, moving all later items up to fill the gap, whether or not ripple editing has been turned on. Pastes any previously cut or copied item into the currently selected track at the current cursor position. Dplits currently selected item or items at the current cursor position. *f no item is selected, splits all items. Dplits currently selected item or items at the start and end of the current loop selection. *f no item is selected, splits all items. Delects all media items. Copies the selected area of selected items to the clipboard. Copies the selected area as a loop. These si, options are mutually e,clusive. Delect any one to set the unit of measurement used for ruler display.

!".4

-$e 3edia 1%e)s 9on%e4% 3enu

This menu is accessed by right.clicking over any media item. *f a number of media items have been selected, the command selected from this menu will be applied to all those items. )n e,planation of this menu appears below.
9o))and 1%e) se%%ings 1%e) proper%ies> 6ource Proper%ies> Group -a(e 9o)ps 1%e) and %a(e co/ors 1%e) processing 6%re%c$ )ar(ers 9o))en%s Bpens the *tem settings sub.menu Asee belowE. Bpens *tem Properties dialog bo,. Bpens Dource Properties dialog bo,. Bpens /roup sub.menu, to group or ungroup selected items, Bpens Take sub.menu for takes management Asee belowE. Bpens Comps sub.menu for comps management Asee belowE. Bpens color management sub.menu Asee belowE. Bpens *tem processing sub.menu Asee belowE. )dd, snap or remove stretch markers.

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Up and Running: A REAPER User Guide v 4.59

9o))and *pen i%e)s in edi%or 9o))en%s Bpens a submenu whose commands are used to open the selected item3items Aor copies of these itemsE with the editor specified under Bptions, Preferences, (,ternal (ditorsE. Bpens selected options. *D* item with '()P(':s *D* editor82 several

5ui/% in 3171 edi%or App/y %rac( F8 %o i%e)s as ne' %a(e App/y %rac( F8 %o i%e)s as ne' %a(e E)ono ou%pu%F App/y %rac( F8 %o i%e)s as ne' %a(e E3171 *u%pu%F Render i%e)s as ne' %a(e Reverse i%e)s as ne' %a(e G/ue i%e)s G/ue i%e)s 'i%$in %i)e se/ec%ion 9opy i%e)s 9opy se/ec%ed area of i%e)s 9opy /oop of se/ec%ed area of i%e)s 9u% i%e)s 9u% se/ec%ed area of i%e)s Pas%e Re)ove i%e)s -ri) i%e)s %o se/ec%ed area =udge&se% i%e)s 6p/i% i%e)s a% cursor 6p/i% i%e)s a% prior Dero crossing 6p/i% i%e)s a% %i)e se/ec%ion ,ea/ sp/i%s in i%e)s

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 F; 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. This group of commands offers two options for cutting the current selection to the clipboard. Pastes content of the clipboards to the currently selected track at the current cursor position. Deletes selected media items from the pro@ect. Trims media items to the currently selected area. Bpens the ?udge3Det *tems dialog bo,. Dplits currently selected items at current cursor position Dplits currently selected items at the last <ero crossings point before the current cursor position. Dplits currently selected items at the start and end of the currently selected timeline area. 'emoves splits and @oins items as one again.

!".5

-$e 3edia 1%e)s 9on%e4% 6ub-3enus

Deveral of the edia *tems conte,t menu commands cause substantial sub.menus to be displayed, including *tem settings, Take, Comp, *tem and take colors and *tem processing. These are e,plained below.
1%e) se%%ings 6ub 3enu 9o))ands 3u%e .oop i%e) source P/ay a// %a(es .oc( i%e) 1%e) no%es ... 9o))en%s Toggles these various *tem Properties parameters. These can also be modified in the *tem Properties dialog bo,. There are also icons that can be used for ute and Oock item. Bpens *tem ?otes window.

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!" - 3ain Rig$%-9/ic( 9on%e4% 3enus 6u))ary

1%e) se%%ings 6ub 3enu 9o))ands 1nver% p$ase .oop sec%ion of i%e) source Preserve pi%c$ '$en c$anging p/ayra%e Reverse ac%ive %a(e -a(e c$anne/ )odes 9o))en%s Toggles phase invert. Toggles loop selection status. Toggles preserve pitch option. 'everses the current active take. Deveral mutually e,clusive options, including ?ormal, 'everse stereo, ono Adownmi,E, ono AleftE or onoArightE. Default is ?ormal. Four mutually e,clusive options used to set item timebase2 Pro@ect3track default, Time, >eats Aposition, length, rateE or >eats Aposition onlyE. 9o))en%s Choose Custom Color, 'andom Color, Bne 'andom Color or Default Color. Choose Custom Color, 'andom Color, Bne 'andom Color or Default Color. 9o))en%s Causes the ne,t or previous take to be selected. Causes the currently active AselectedE 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. Oocks currently active take AtoggleE. Bpens F; chain for the currently active take. 'emoves all F; from the takeIs F; chain. Toggles volume, pan, mute, pitch envelopes for take on3off.

6e% i%e) %i)ebase

1%e) and %a(es co/ors sub )enu co))ands 6e% i%e)s %o ... 6e% ac%ive %a(es %o ... -a(e sub )enu co))ands =e4% %a(e Previous %a(e 7e/e%e ac%ive %a(e 9rop %o ac%ive %a(e 7up/ica%e ac%ive %a(e .oc( %o ac%ive %a(e 6$o' F8 c$ain for ac%ive %a(e Re)ove F8 for ac%ive %a(e -a(e vo/u)e enve/ope -a(e pan enve/ope -a(e )u%e enve/ope -a(e pi%c$ enve/ope E4p/ode a// %a(es %o ne' %rac(s E4p/ode a// %a(es Ein p/aceF E4p/ode a// %a(es Ein orderF 1)p/ode i%e)s across %rac(s in%o %a(es 1)p/ode i%e)s on sa)e %rac( in%o %a(es

Three options for e,ploding takes.

Creates one track with a take for each media item selected, where the media items are selected across several tracks, or creates one track with a take for each media item selected, where the media items are all selected from the same track. Pastes to takes in selected items. akes the selected take active. 9o))en%s Daves current takes selection as a new comp. 'emoves current comp from Comp sub menu. 'emoves all comps e,cept current one from sub menu. oves take selection for active comp to top media item lane. =here comps have been named, these are listed on, and can be made active by selecting from, the Comps menu.

Pas%e %o %a(es in i%e)s -a(e /ane #? -a(e /ane !? e%c 9o)ps sub )enu co))ands 6ave as ne' co)p ... Re)ove ac%ive co)p fro) /is% 9rop /is% %o ac%ive co)p 3ove ac%ive co)p %o %op /ane 6aved co)p na)es

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Up and Running: A REAPER User Guide v 4.59

1%e) processing sub )enu co))ands =or)a/iDe i%e)s =or)a/iDe i%e)s Eco))on gainF 7yna)ic sp/i% i%e)s > Puan%iDe i%e) posi%ions %o grid 3ove i%e)s %o source preferred posi%ion 1)p/ode i%e)s across %rac(s in%o i%e)s on one %rac(. Au%o-reposi%ion i%e)s in free posi%ioning )ode E4p/ode )u/%ic$anne/ audio or 3171 i%e)s %o ne' )ono i%e)s. 9o))en%s ?ormali<es all selected items, independently of each other. ?ormali<es as far as possible all selected items, adding the same amount of gain to each. Bpens the dynamic split dialog bo, for dynamic splitting. Fuanti<es the positions of selected items to grid settings. oves items to original position. erges the selected items into a single track. Dets the status of selected items to free positioning mode. *f the media item is a multichannel one, this command will create an additional new mono track for each channel used. *f it is a *D* item, it will e,plode Aor 7dissolve8E *D* channels. Dissolves *D* items by note row instead of channel. Changes a previously ghost copied item into a pro@ect event in its own right. Changes the status of the active ghost copied. *D* take so that it can be

E4p/ode 3171 i%e)s by no%e ro' Epi%c$F. 9onver% ac%ive %a(e 3171 %o in-pro:ec% even% 9onver% ac%ive %a(e 3171 %o fi/e Eg$os% copyab/eF 1)por% )edia cues as pro:ec% )ar(ers

Converts e,isting media cues in an imported item into '()P(' markers.

!".@

-$e Record Ar) 9on%e4% 3enu

This menu is accessed by right.clicking over the 'ecord )rm button or S- meter of any track. )n e,planation of the commands follows.
9o))and 3oni%or 1npu% > 3oni%or 1npu% E-ape Au%o 6%y/eF 3oni%or %rac( )edia '$en recording Preserve P79 de/ayed )oni%oring 9o))en%s The first two of these options are mutually e,clusive2 you should select whichever of these you prefer if you wish to use '()P('Is input monitoring. Kou do not need to select either of these options, however, if using any input monitoring facility supplied by your sound card. Bptionally, you may choose to also monitor track media when recording. *n most cases, for normal audio recording you will want to select Record: inpu% to record the incoming audio signal.

Record: inpu% Eaudio or 3171F Record: Record: Record: Record: 3171 3171 3171 3171 overdub in e4is%ing i%e)s rep/ace in e4is%ing i%e)s %ouc$-rep/ace in e4is%ing i%e)s /a%c$-rep/ace in e4is%ing i%e)s

-se any of these to select one of four modes e,plained in Chapter 1.

*D* recording

Record: ou%pu%

-sed to record a track:s output Apost F;E. Bptions include multichannel, stereo or mono Awith or without latency compensationE and *D* output. -se this command to force recorded input into mono, stereo, multichannel or *D* format. )llows for input monitoring without recording.

Record inpu% Eforce for)a%F Record: disab/e Einpu% )oni%oring on/yF

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!" - 3ain Rig$%-9/ic( 9on%e4% 3enus 6u))ary

9o))and 1npu%: 3ono 1npu%: 6%ereo 1npu%: 3171 1npu%: =one Au%o)a%ic record-ar) '$en se/ec%ed -rac( recording se%%ings ... 9o))en%s Displays sub menu from which to select the reHuired mono input from your sound card. Displays sub menu from which to select the reHuired stereo input from your sound card. Displays a menu from which to select your reHuired device and channels Disables recording input. Causes the track to be auto armed when selected. Bpens Track 'ecording Dettings dialog bo,, used to change recording format settings and3or input Huanti<e settings for this track. Bpens F; browser to select F; to be used when input is recorded. *D*

-rac( inpu% F8 c$ain

!".B -$e Enve/opes 9on%e4% 3enu

The envelope menu AleftE is commonly accessed by right.clicking over any e,isting point on an envelope. 'ight clicking over an e,isting envelope but not on a specific point produces a similar menu, but instead of point editing commands such as 6e% poin% va/ue> and 6e% poin% s$ape, you will find the command 9rea%e ne' poin%. )n e,planation of this menu appears below.
9o))and 6e% poin% va/ue> 6e% poin% s$ape 6e% s$ape for se/ec%ed poin%s 6e% enve/ope defau/% poin% s$ape 6e/ec% a// poin%s Unse/ec% a// poin%s 6e/ec% a// poin%s in %i)e se/ec%ion 9opy poin%s 9u% poin%s 9o))en%s Bpens a dialog bo, in which you can specify a different value for the specific point, and, if you wish, position and shape. Oets you specify any of the si, available shapes for the current point. Dets shape for all points in current selection. )llows you to change the default shape that will be applied to new envelope points. Delects all points in the envelope. -nselects all points in the envelope. Delects 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 9%r/ V causes cut or copied points to be pasted onto whichever envelope is currently selected, at the cursor position. Deletes the envelope point. Deletes all currently selected envelope points. Deletes all points on current envelope that are contained within the currently selected area along the timeline. Causes currently selected envelope points to be inverted. 'esets all currently selected envelope points effectively to a 7neutral8 value.

7e/e%e poin% 7e/e%e se/ec%ed poin%s 7e/e%e poin%s in %i)e se/ec%ion 1nver% se/ec%ed poin%s Rese% poin%s %o Dero&cen%er

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Up and Running: A REAPER User Guide v 4.59

9o))and Reduce nu)ber of poin%s 9o))en%s Displays the 'educe Points dialog bo,, enabling you to reduce the number of points in either the whole envelope or only the current time selection. )rms the envelope ready for recording, for e,ample to write automation changes to the envelope. Determines whether envelope will be shown in its own lane or not. Mides the envelope whilst keeping it active. Midden envelopes can be redisplayed using the (nvelopes window. Toggles the bypass state of the envelope. 'emoves all points from the current envelope. Kou are prompted to indicate whether you also wish to remove the envelope completely.

Ar) enve/ope for recording 6$o' enve/ope in /ane ,ide enve/ope 5ypass enve/ope 9/ear or re)ove enve/ope

'ight clicking over the background area of any envelope lane in the track control panel will produce a conte,t menu with three sets of commands2 E4is%ing avai/ab/e enve/opes2 -sed to change the envelope displayed in this lane. Enve/ope )anage)en%: Commands to show, hide, arm or disarm all envelopes on this track, or to move all visible envelopes into or out of lanes. Au%o)a%ion )ode: Change your reHuired automation mode for this track.

!".C -$e -ranspor% 5ar 9on%e4% 3enu

This is accessed by right.clicking on the Transport >ar. )n e,planation of the menu commands appears below. ore specific conte,t sensitive menus are available by right clicking over many of the items on the transport bar. For e,ample, right.clicking on the Record button gives you a menu of the three record mode options. 'ight clicking on the play rate fader displays the play rate sub menu.
9o))and u)p %o )ar(er P/ayra%e -ranspor% E4%erna/ %i)ecode 6ync$roniDa%ion Au%o)a%ica//y scro// vie' during p/aybac( 6)oo%$ see(ing Esee(s a% end of )easureF Record )ode: nor)a/ Record )ode: %i)e se/ec%ion au%o punc$ Record )ode: au%o-punc$ se/ec%ed i%e)s Use ru/er %i)e uni% 9o))en%s Displays a fly out menu of markers. Click on any marker in the list to @ump to it.

Displays a sub menu of options for ad@usting the play rate Awith or without preserving pitchE and to set the play rate fader range.
Displays a sub menu of various actions eHuivalent to the Transport control buttons . play, record, pause, stop, go to start, go to end, etc. -sed to synchroni<e '()P('Is clock to an e,ternal device. =hen selected, screen display follows play cursor during playback. =hen enabled, moves play cursor on stop3pause to end of measure. Delects one of the three recording modes e,plained in Chapter 1. The three options are mutually e,clusive.

(nsures that whatever time unit is selected for the ruler is also used on the Transport >ar. )lternatively, you can select one of the other options Asee belowE.

-nlock your inner '()P(' with REAPER 4 Un/eas$ed2 166

!" - 3ain Rig$%-9/ic( 9on%e4% 3enus 6u))ary

9o))and 3inu%es : 6econds 3easures O 5ea%s & 3 6 3easures O 5ea%s 6econds 6a)p/es ,ours:3inu%es:6econds:Fra)es 6$o' p/ayra%e con%ro/ 6$o' %i)e signa%ure 6$o' p/ay s%a%e as %e4% 9en%er %ranspor% con%ro/s 7oc( %ranspor% in doc(er 7oc( %ranspor% in )ain 'indo' 7oc(ed %ranspor% posi%ion ,ide %ranspor% 9o))en%s Delect your preferred unit of measurement for display on the Transport >ar. These options are mutually e,clusive.

Toggles on and off display of playrate controls in transport bar, Toggles on and off display of time signature in transport bar. Toggles on and off te,t display of play state in transport bar G Playing, Dtopped, etc. Toggles display of transport controls APlay, Dtop, etcE in center or on left.. Toggles docking transport bar in one of '()P(':s dockers. Toggles on and off docking of Transport >ar in '()P(':s main window. Bffers a submenu of four options for the position of the transport bar when docked in '()P(':s main window. Mides the Transport >ar. To redisplay, press 9%r/ A/% -.

!".9

-$e Rou%ing 3a%ri4 9on%e4% 3enu

This menu is displayed by right.clicking on the empty background area of the matri,. The commands are used mainly to determine which
items are and are not shown in the routing matri,. (,actly which items you will wish to show will vary at different times in your pro@ect:s life cycle. aking the right selection for the right time can prevent screen clutter and make the matri, easier to work with.
9o))and 3a%ri4 )ode 6$o' ---- as des%ina%ion 6$o' ---- as sources 7oc( rou%ing 'indo' in doc(er 9o))en%s Decides whether the routing or grouping matri, is shown.

Determines which items are and are not shown as destinations for sends in the header row. Determines which items are and are not shown as sources of sends in the left hand column. Determines whether the matri, is or is not docked.

!".#" -$e F8 +indo' 9on%e4% 3enu

This menu is accessed by right.clicking within any trackIs F; chain window.)n e,planation of the commands on this menu appears below.
9o))and Add F8 > F8 c$ains FreeDe %rac( 9o))en%s Bpens )dd F; =indow to add one or more plug.ins to the F; chain. Displays a sub.menu with options for loading and saving F; chains. Displays sub menu with options for free<ing Ae.g. mono, stereo or multichannel, up to last non.offline F; or up to last selected F;E.

For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) 16Q

Up and Running: A REAPER User Guide v 4.59

9o))and 9opy a// F8 9opy se/ec%ed F8 9u% se/ec%ed F8 9opy a// F8 Pas%e F8 Re)ove se/ec%ed F8 Re)ove a// F8 6e/ec% a// -ogg/e se/ec%ed F8 bypass -ogg/e se/ec%ed F8 off/ine Rena)e F8 1ns%ance +indo' f/oa% se/ec%ed F8 6ave c$ain as defau/% for ne' %rac(s .oad defau/% %rac( c$ain 5ui/d )u/%ic$anne/ for ou%pu% of se/ec%ed F8 5ui/d #@ c$anne/s of 3171 rou%ing %o %$is %rac( 7oc( F8 'indo' in doc(er 9/ose F8 'indo' 9o))en%s Copies all F; in chain to clipboard. Copies currently selected F; to clipboard. Cuts currently selected F; to clipboard. Copies all F; in current F; window to clipboard. Pastes F; from clipboard into current F; window. 'emoves all selected F; from current F; window. 'emoves all F; from current F; window. Delects all F; in current F; window. Toggles bypass of all currently selected F;. Toggles online3offline status of all currently selected F;. )llows you to assign a specific name for this instance of the plug.in. Floats selected F; so that they are displayed independently of the F; window. akes the F; chain in the current F; window the default F; chain automatically inserted when you create new tracks. Ooads the current default F; chain into the currently open track F; window. Creates multichannel3multitrack where appropriate2 for use with multichannel SDTis and D,is. =here appropriate, for use with multichannel SDTis and D,is. Toggles the docked3undocked status of the F; window. Closes the F; window.

!".## -$e 3edia E4p/orer 9on%e4% 3enu

'ight.clicking over any vacant area within this window produces a conte,t menu that is the same as the edia (,plorer:s Bptions menu. *n addition, right.clicking over the name of any media item will produce its own conte,t menu.
9o))and 1nser% in%o pro:ec% 1nser% a% %i)e se/ec%ion Es%re%c$&/oop %o fi%F 9o))en%s *nserts into selected track at play cursor position. *nserts into selected track at time selection, stretching3looping to fit. *nserts at play cursor position on to a new track. )dds the selected item in the media e,plorer to the selected item in )rrange view as a new take. 'eplaces current media source in item currently selected in )rrange view. 'eplaces current media source in item currently selected in )rrange view, stretching3looping to fit. Previews this item.

1nser% in%o pro:ec% on a ne' %rac( 1nser% as %a(e in se/ec%ed i%e)s Use as )edia source for se/ec%ed i%e) Use as )edia source for se/ec%ed i%e) Es%re%c$&/oop %o fi%F Previe'

-nlock your inner '()P(' with REAPER 4 Un/eas$ed2 1Q"

!" - 3ain Rig$%-9/ic( 9on%e4% 3enus 6u))ary

!".#! -$e 3171 1n-.ine Edi%or and 3171 Edi%or 9on%e4% 3enus
'ight.clicking within the *D* *n.Oine (ditor the conte,t menu shown here. These commands are a subset of some of the *D* (ditorIs menu commands and are e,plained in detail in Chapter %!. The first section Afrom 1nser% no%e a% edi% cursor to =o%e c$anne/E contains the same commands as the right click notes menu in the *D* (ditor. The =o%e c$anne/ command displays a sub menu of channels % thru %R. The second section Afrom Puan%iDe even%s to 6e% no%e ends %o s%ar% of ne4% no%eE can also be found on the Edi% menu in the *D* (ditorIs main menu. The Vie' command leads to a sub.menu similar to the Siew command on the *D* (ditor main menu. The remaining commands include some of the other options found on the *D* (ditor:s main menu.

-$e 3171 Edi%or 3ain 9on%e4% 3enu

'ight clicking over the title bar in the *D* (ditor Aor tab if dockedE 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 =aviga%e commands, then Vie', then Ac%ions, then =aviga%e. These commands are e,plained in detail in Chapter %!.

-$e 3171 Edi%or edi% area con%e4% )enu

'ight.clicking on the editing area of the the menu shown here. *D* editor displays

Dome of these commands Ae.g. Copy, CutE will only be available if a selection of notes has been made. ost of the other commands are duplicated from the (dit menu. *n addition, there are a number of handy note selection commands, such as 6e/ec% previous no%e 'i%$ sa)e no%e va/ue, 6e/ec% ne4% no%e 'i%$ sa)e no%e va/ue , and 6e/ec% a// no%es 'i%$ sa)e no%e va/ue.

For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) 1Q%

Up and Running: A REAPER User Guide v 4.59

-nlock your inner '()P(' with REAPER 4 Un/eas$ed2 1Q!

Using REAPER 'i%$ *%$er App/ica%ions and 7evices !# Using REAPER 'i%$ *%$er App/ica%ions and 7evices
!#.# +$a% is ReaRou%eX
'ea'oute is an )D*B driver that allows you to route audio to and from any other )D*B enabled application. 'ea'oute is only installed on your system if you select the ReaRou%e A61* driver during the '()P(' installation process. This option is found on the '()P(' Detup screen on the 9$oose 9o)ponen%s page Ashown rightE, under the heading Addi%iona/ Func%iona/i%y. *f you did not have this option selected Aor if in doubtE when you last installed '()P(', simply reinstall '()P(', this time making sure that you have this option selected. =hen you choose to install 'ea'oute, the ReaRou%e A61* driver appears in the )D*B driver list for the other audio applications on your system. =o%e: Dome users have reported problems with native )D*B drivers after installing the 'ea'oute driver. *f you e,perience problems with your )D*B drivers after installing this feature, uninstall '()P(', then re.install with this check bo, cleared. Bnce 'ea'oute has been installed, you can pass audio streams between '()P(' and other audio applications. *n the e,ample that follows, we will use the e,ample of sharing audio between '()P(' and Donar. The same principles apply, however, if you are working with an application such as Cubase or )bleton Oive instead of Donar. *n this section, you will be introduced to using 'ea'oute by working thru the following tasks2 Detting up Donar Aor any other D)= application of your choiceE to work with 'ea'oute. Dending a pro@ect out from '()P(' to that application and recording it track by track within that application. Dending a pro@ect from Donar to '()P(', this time bringing it in as a series of submi,es. Kou can then apply '()P(' features to that pro@ect. -sing a stand alone synthesi<er workstation such as Pro@ect P in con@unction with '()P('.

Please remember that the purpose of this e,ercise is to teach you how you can go about sharing audio between different applications. Mow you apply that knowledge, and what benefits you derive from it, is of course up to you.

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Up and Running: A REAPER User Guide v 4.59

!#.! 6e%%ing Up App/ica%ions for ReaRou%e

>efore you can use any audio application with '()P(' via 'ea'oute, you need to ensure that the audio settings for that application are set up correctly. There are usually one or two basic steps involved. The first is to enable ReaRou%e A61* as the preferred driver, the second is to enable the various input and output channels reHuired to transmit audio between the application and '()P('. =ith some applications, this second step is not reHuired. The method will vary with the application, but always involve specifying your preferences on the Audio 6e%%ings dialog bo, Aor similarE. The table below gives some e,amples. They are accurate at the time this is being written, but be aware that all software programs are likely to change over time. *f you are using a different application, you should be able to work out what is reHuired. =o%e: >efore setting up or using any application for use with 'ea'oute, you should2 ake sure that the 'ea'oute )D*B Driver has been installed Asee previous pageE, and ake sure that '()P(' is open and minimised. 1ns%ruc%ions %. !. 1. Ab/e%on .ive &. P. R. F. 6%udio Pro:ec% 5 *p%ions? Preferences then click on the Audio tab. Det 7river -ype to A61*. Det Audio 7evice to ReaRou%e A61*. Click on 1npu% 9onfig then on each input channel that you wish to enable, then *H. Click on *u%pu% 9onfig then on each output channel that you wish to enable, then *H. Close Preferences window.

App/ica%ion

*p%ions? Audio 6e%%ings, then select ReaRou%e A61* for *u%pu%. Close )udio Dettings window. *p%ions? Audio then under Audio 7river 6e/ec%ion O *u%pu%s select ReaRou%e A61* ReaRou%e 9/ien% -M REAPER # EA61*F then *H. %. !. 1. *p%ions? Audio? Advanced then set Driver ode to A61* then *H.

*p%ions? Audio? 7rivers then disable all e,isting drivers Ainput and outputE *p%ions? Audio? Advanced then set Device to ReaRou%e A61* EC in? C ou%F then *H *p%ions? Audio? 7rivers and enable all 'ea'oute drivers, then *H.

6onar

&.

=o%e: These instructions are for Donar 6.P. Dome earlier versions of Donar reHuire that you e,it and restart the program before certain changes to audio settings are applied. >ecause of this, you may not be able to complete all of these steps at once G you may find that you have to close and reopen the program after each step before you can go on to the ne,t one. %. Click on the 6e%%ings tab. !. From the +ave 7evice drop down list choose ReaRou%e A61*.

-rac(%ion

1. Click once on the red word disab/ed for each channel that you wish to use. The display should change for each item clicked on to green enab/ed. &. Click on the Pro:ec%s tab when finished.

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Using REAPER 'i%$ *%$er App/ica%ions and 7evices

!#.A 6ending Audio fro) REAPER %o Ano%$er App/ica%ion

>efore attempting this e,ample, make sure that you have installed the 'ea'oute )D*B Drivers and that you have set up your other D)= application Asuch as Cubase, Donar, )bleton Oive, Tracktion or DamplitudeE to use 'ea'oute Drivers, as e,plained on the previous page. *n this e,ample, we are going to send a pro@ect from '()P(' to Donar. Kou might wish to do this, for e,ample, to use Donar to apply S.Socal to a vocal track. Bf course, the same principles would apply if you were using a different application other than Donar, such as Cubase, )bleton Oive, or Damplitude. Provided you know your other application well enough and have already set it up to use 'ea'oute Asee previous pageE you should have no difficulty in applying these guidelines. The general guidelines are2 Bpen '()P('. *t is important that you open '()P(' before the other application.
Bpen the pro@ect file that you wish to use. For each track that you wish to use, create a hardware output to a different 'ea'oute channel. Bpen the other application Ae.g. DonarE and create a new pro@ect file. *nsert into your new file one new track for each track that you wish to bring in from '()P('. For each track, the input should be set to correspond with the eHuivalent output used in '()P('. For e,ample, if in '()P(' you set a trackIs output to 'ea'oute Channel %, then the corresponding new track in Donar will need to have its input set to Oeft 'ea'oute )D*B 'ea'oute '()P(' Channel %. =ithin the second application, start recording. =ithin '()P(', play the song. Dtop both when the song finishes. Kou can then do whatever work you wish. )n e,ample follows shortly. =hen finished, first close the other application and then close '()P('. Kou should always remember G Bpen '()P(' first, close it last.

Bf course, in many cases it would be easier and Huicker simply to import the wave files directly into the second application. There are, however, other instances when it may be advantageous to use 'ea'oute instead. For e,ample2 *t might not be easily possible to line up all tracks. Dome may start and finish at different times. Bthers might consist of a large number of media items each of short duration. *t would be difficult to import these piecemeal. Dome tracks might consist of a combination of *D* items and audio items. any applications do not let you mi, *D* and audio on the same track. This way, they are all taken across as audio.

E4a)p/e
%. Dtart '()P('. Bpen the file A// -$roug$ -$e =ig$%.RPP and save it as A// -$roug$ -$e =ig$% REAR*U-E.RPP. Delect the first track. Display the 'outing A*BE window for this track and add a hardware output to ReaRou%e 9$anne/ # as shown ArightE. Dimilarly, create hardware outputs for track ! to 'ea'oute Channel !, track 1 to 'ea'oute Channel 1, and Track & to 'ea'oute Channel &. Dave the file. inimi<e '()P('. Bpen Donar Aor whichever application you are usingE. These instructions refer to DB?)' 6.P and assume that you are already familiar with how to give commands and perform basic tasks in this application.

!.

1.

&. P.

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Up and Running: A REAPER User Guide v 4.59

R. #. 6. Create a new pro@ect file containing four new audio tracks. Dave this as A// -$roug$ -$e =ig$% REAPER.c'p. ?ame these tracks as shown below. Det the *nput for -rac( # to .ef% ReaRou%e A61* REAPER[M9.1E=- # as shown below. Det the *nput for -rac( ! to Rig$% ReaRou%e A61* REAPER[M9.1E=- #? the *nput for -rac( A to .ef% ReaRou%e A61* REAPER[M9.1E=- A? and the *nput for -rac( 4 to Rig$% ReaRou%e A61* REAPER[M9.1E=- A. )rm all four tracks for recording.

Q.

Dave this file.

%". Dtart 'ecording. %%. Dwitch to '()P(' and press P/ay. )s the song is played back, the tracks will be recorded in Donar. ?ote that if any of your '()P(' tracks have any active F; in their F; windows, then unless the sends are Pre F; it will be the post F; signal that will be recorded in Donar. %!. =hen the song finishes, stop the recording in Donar, then stop playback in '()P('. %1. *n Donar, unarm the four tracks. %&. The file should now resemble that shown below. 6ave this file, then wait. =e will shortly be using Donar to do some work on this file. eanwhile, keep '()P(' and Donar both open.

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Using REAPER 'i%$ *%$er App/ica%ions and 7evices

!#.4 6ending Audio Fro) Ano%$er 7A+ App %o REAPER

Dtaying with the same e,ample, we are now going to use 'ea'oute to take our open Donar pro@ect and send an audio signal back to '()P('. *n overview, this is how it is done. Bpen '()P(' and create a new pro@ect file. *nsert as many new tracks as you need. Bpen Donar. *n Donar, open the file you wish to work on, and assign outputs on a track by track basis to your various 'ea'oute channels as reHuired. )rm these tracks for recording. *nsert any F; Asuch as S.SocalE that you may wish to use in your Donar tracks. )ssign the outputs of your Donar tracks to the various F; channels as reHuired. Play the song in Donar, ad@usting your F; to suit. =hen ready, start recording in '()P(', then play the song in Donar from the beginning. =hen finished, stop both playback and recording.

E4a)p/e *f you are carrying on from the (,ample in the previous section, go straight to step 1 below. Btherwise J
%. Bpen '()P('. !. Bpen Donar, then open the file )ll Through The ?ight '()P('.cwp G this file was created in the previous e,ample. 1. *n '()P(', create a new pro@ect file. Dave it as A// -$roug$ -$e =ig$% 6*=AR.RPP. *nsert two tracks into this pro@ect. )rm both these tracks for recording. &. For the first of these tracks, set the input to ReaRou%e #& ReaRou%e !, as shown right. P. For the second of these tracks, set the input to ReaRou%e A& ReaRou%e 4. /ive both tracks a suitable name. R. =e are going to use Track % to import the Socal track from Donar, and Track ! to import an instrumental submi,. For both these tracks, make sure that 1npu% 3oni%oring is turned on. #. *n Donar, set the input of all tracks to ?one. Det the output of Track % to ReaRou%e A61* ReaRou%e 9/ien% [MREAPER # , as shown right.

6. *n Donar, for tracks !, 1 and & set the output to ReaRou%e A61* ReaRou%e 9/ien% [MREAPER A Q. *n Donar, play the song in Donar. )d@ust the panning and levels of the instrumental tracks G Track ! &"L Oeft, Track 1 &"L 'ight, Track & Centre. %". *n Donar, insert any Cakewalk F; reHuired for the vocal in the Socal Track. For e,ample, you could use the S;R& Socal Dtrip. %%. =hen you are ready, in '()P(', start recording. %!. *n Donar, play the song from the beginning. %1. =hen finished, stop both playback and recording, save your Donar file, then close Donar.

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Up and Running: A REAPER User Guide v 4.59

%&. *n '()P(', unarm your tracks. Dave your pro@ect, which should now look similar to that shown above. %P. ?otice that the first track contains the Socal Awith Cakewalk F;E and the second track the instrumental submi,. %R. Kou can now finish this pro@ect in '()P('. For e,ample, you could insert 'eaComp into the *nstrument Dubmi, Track, define this track as four channels, then create a send from the Socal Track to channels 1 and & of the *nstrumental Track. This could then be used for audio ducking, to ensure that the voice floats smoothly above the instruments. A)udio ducking is e,plained in detail elsewhere this -ser /uideE.

!#.5

Using REAPER +i%$ a 6yn%$ +or(s%a%ion

Pro@ect P from Cakewalk is a Dynthesi<er =orkstation application. *t:s been around for a few years now. Kou can use Pro@ect P or any other broadly eHuivalent product for this e,ercise. *n this section, you will see how 'ea'oute can be used to make the functionality of Pro@ect P Aor any similar applicationE available to you when you are working with '()P('. To be able to work thru this e,ample, you will need to already know how to use Pro@ect P Aor whichever synth app you are usingE to create musicE.

>efore proceeding with this section, you will need to ensure that your 'ea'oute )D*B drivers have been installed Asee Dection !".%E and that the Dynth =orkstation program has been set up to use them Asee Dection !".!E.

E4a)p/e
*n this e,ample, you will be shown how to use 'ea'oute to allow you to use a synth workstation program such as Pro@ect P to record tracks onto '()P(' for an e,isting '()P(' pro@ect file. %. !. Bpen '()P('. Bpen the file A// -$roug$ %$e =ig$% 6*=AR.RPP and save it as A// -$roug$ %$e =ig$% PR* 5.RPP )dd a track at the end of this pro@ect. ?ame this track 6yn%$s. )rm this track for recording, turn input monitoring on and set the Track *nput to Dtereo, ReaRou%e 9$anne/ # & ReaRou%e 9$anne/ !. Bpen Pro:ec% 5 and create a new pro@ect file. Choose the *p%ions. Audio command and direct output to ReaRou%e A61* ReaRou%e 9/ien% [M REAPER # EA61*F as shown here.

1.

&.

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Using REAPER 'i%$ *%$er App/ica%ions and 7evices

P.

For this simple e,ample, insert a synth of your choice into your Pro@ect P pro@ect file. Bf course, you could if you wish insert several different synths and take full advantage of the programIs features, but for this simple demonstration we will confine ourselves to @ust the one. =ithin '()P(', make sure your cursor is at the start of the pro@ect. Press Record. =ithin Pro@ect P, play the Dynth to compose a track to accompany your '()P(' song. )s you do so, '()P(' will record it as a wave file. This is additional to any activity that occurs within Pro@ect P. =hen you have finished, save your Pro@ect P file as ReaRou%e 7e)o.p5p and close the program. *n '()P(', unarm the Dynths track and save your file.

R. #. 6. Q.

!#.@

6yncing %o an E4%erna/ 7evice

*f you are using '()P(' in con@unction with an e,ternal device then you may need to ensure that your D)= is in sync with that device, and to take its time clock from that device. For e,ample, you may need to slave '()P(' to another D)=, or to a video deck. )nother e,ample might be if you need to upload time. stamped material from )D)T tape. To synchroni<e '()P(' to an e,ternal timecode, follow this seHuence2 'ight click over the P/ay button on the Transport >ar. This opens the settings dialog bo, shown here. Delect the *nput to be used. )vailable sync types include )D*B Positioning Protocol, TC and DPP. Complete the other settings and close the dialog bo,. Kou should consult the documentation of your e,ternal device for further information. To play '()P(' in sync with an incoming timecode, hold the A/% key while right clicking on the play button. A/% Rig$% 9/ic( over the Play button toggles this slave to timecode on and off. REAPER 6ync -ypes E6u))aryF 6ync -ype A61* Posi%ioning Pro%oco/ 9o))en% Creates a synchroni<ation that is sample accurate with the e,ternal device. *n other words, the time code has as many time locations as your pro@ects sampling rate. 'eHuires that your audio hardware uses )D*B !." drivers. This is the same as D PT(. *t is a time based method of synchroni<ation which uses hours, minutes, seconds and frames. )s its name implies, this is also a time based method of synchroni<ation which uses hours, minutes, seconds and frames. *t is simply a conversion of the D PT( code that is transmitted via the *D* cable. This method is based on bars, beats and subdivisions of beats. The information is transmitted along with TC data, every si, clocks or ticks. For some devices, this is all you need.

.inear -i)e 9ode E.-9F 3171 -i)e 9ode E3-9F

6ong Posi%ion Poin%er E6PPF

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Up and Running: A REAPER User Guide v 4.59

-$e 9on%e4% 3enu
The commands for enabling3disabling e,ternal timecode synchroni<ation and for changing the settings are also available on '()P('Is -ranspor% 5ar conte,t menu and on the main *p%ions menu.

Assignab/e Ac%ions
The following actions are assignable using the keyboard shortcut editor A)ctions, Dhow )ction OistE2 Dhow e,ternal timecode synchroni<ation settings. Toggle e,ternal timecode synchroni<ation.

6ending 9/oc(&6PP fro) REAPER %o an e4%erna/ 3171 7evice

To send Clock3DPP data from '()P(' to an e,ternal *D* device, you need to enable the feature under *p%ions? Preferences? 3171 7evices. Double.click on the device name to open the 9onfigure 3171 1npu% dialog bo,, and select the option 6end 9/oc(&6PP to output.

!#.B

Genera%ing and 6ending -i)ecode

The command 1nser%? 63P-E .-9&3-9 -i)ecode Genera%or Afrom the main menuE can be used to send a synchroni<ation timecode from '()P(' to an e,ternal device. This command inserts on to the current track a media item which is used to generate the timecode. 'ight.click over the item and choose 6ource proper%ies from the conte,t menu to display the settings bo, shown here. Delect OTC Alinear3longitudinal time codeE or TC A *D* time codeE and configure the various parameters as reHuired.

&""

!! - 6o)e *%$er REAPER Fea%ures E*vervie'F !! 6o)e *%$er REAPER Fea%ures E*vervie'F
=eIve @ust about come to the end of this -ser /uide G and thereIs still a few things that we havenIt really told you about+ Bnce you get up and running with '()P(', youIll find thereIs heaps more information available to you on the '()P(' =*C* and of course thru the user forums. Kou can find these at2 http233www.cockos.com3wiki3 and http233www.cockos.com3forum3 *n this section, we are @ust going to introduce you in overview to some of these features, @ust so that youIll get an idea of some of '()P('Is other capabilities.

!!.#

REAPER and Video

'()P(' can be used to edit the soundtrack of your video files, such as .)S*, . P/ and .= S files. These files are imported using the 1nser%? 3edia Fi/e command, or by simply dragging and dropping into '()P(':s )rrange window. *n addition, you can use the -rac(? 1nser% -rac( fro) -e)p/a%e command to import data from a .(DO file. -se the Vie'? Video +indo' command, 9%r/ 6$if% V, to show the Sideo =indow. For =indows users, video playback is handled by Direct Dhow2 BD ; uses Fuick Time. -se the *p%ions menu in this windowA shown rightE if you wish to resi<e it. Bther commands on this menu included Video i%e) proper%ies. This opens a window revealing the properties Alength, video, audio, decoding format, etc.E of the video item. *n Pro@ect Dettings AChapter !E you can specify a frame rate, and you can set your grid line spacing to frame AChapter &E. Kou cannot perform any video editing within '()P(', but you can work on the soundtrack. Kou can edit the e,isting soundtrack, and3or add create new tracks and media items to be mi,ed with it. *n the illustration above, Track % contains the original soundtrack^ Track ! contains a voice over that has been added in '()P('. The )udio Tracks can then be mi,ed down and rendered in the usual way to a new .=)S file. This can be imported back into the original video file using a program such as Segas. *n addition, the Fi/e? Render command can be used to e,port a video file from '()P(', for e,ample in .)S* format. Delect the *u%pu% for)a% Video EFF)peg encoderF and specify your various settings and options For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) &"%

Up and Running: A REAPER User Guide v 4.59

Afile format, codecs, frame rate, bit rate, etc.E. The button marked in the above screen shot by the mouse cursor position can be used to set width, height and frame rate to match the current video file. )t 'i(i.coc(os.co)&'i(i&inde4.p$p&Video;6uppor% you can find more tips and information about working with video files in '()P(', including how you can add improved video support by installing FFmpeg libraries.

!!.!

Rea6crip%

'eaDcript is a scripting language that takes your ability to customi<e '()P(' well beyond that offered by the )ctions Oist editor. =ith 'eaDcript, you can not only create more powerful and sophisticated macros, you can even create your own e,tension commands. For =indows users to use 'eaDcript, you will first need to have the Python scripting language installed on your computer. 'eaDcript isn:t for everyone G in fact, because it reHuires an understanding of programming it probably isn:t for most people. Kou can find out more about 'eaDcript by choosing ,-3. .is%s then Rea6crip% docu)en%a%ion from '()P(':s ,e/p menu, and by clicking on the option Vie' Rea6crip% ,e/p on the Plug.ins, 'eaDcript page of '()P(':s Preferences window. For more about 'eaDcript and how to get started see also http233www.cockos.com3reaper3sdk3reascript3reascript.php To be able to use 'eaDcript, enable it under *p%ions? Preferences? P/ug-ins? Rea6crip% AaboveE. Bn the E4%erna/ Edi%ors preferences page you can also specify an e,ternal editor for writing and editing scripts.

!!.A

Rea3o%e

'ea ote is '()P(':s network F; functionality. *t allows you to have any F; chain in your pro@ect processed on a remote machine on your local network. This is useful if you want to add more CP- power to your pro@ect Ato run various F;E without upgrading your main host:s CP-. Kou will need to set up 'ea ote and install '()P(' and your plug.ins on the slave machines. For BD ; users, 'ea ote can be installed when '()P(' is installed, by dragging and dropping the 'ea ote icon into the )pplications folder icon. For =indows users, make sure when installing '()P(' that you have Rea3o%e selected and enabled under Addi%iona/ func%iona/i%y on the 9$oose co)ponen%s page of the install wi<ard. 'un the 'ea ote slave on the slave machines, then enable Rea3o%e in the REAPER Preferences on the master, specify your settings and options, and you:re ready to go+ To learn more about how to set up and use 'ea ote, go to 'i(i.coc(os.co)&'i(i&inde4.p$p&Rea3o%e.

!!.4

REAPER and =1= A3

?*?$) is an innovative software program that allows musicians to collaborate in 9fake time9 over the *nternet. The software connects to a central server where participants can share audio and te,t information, and has the ability to record both the local and remote channels of each 9session9 Aaudio onlyE. '()P(' has the ability to import these recorded session files to allow you to edit and mi, at your leisure. 9Fake time9 means that some players will hear a delayed version to which they play along. To learn more about the ?*?$) software or download a copy, visit '''.coc(os.co)&nin:a)& To learn more about using ?*?$) with '()P(', visit the Cockos =*C* 'i(i.coc(os.co)&'i(i&inde4.p$p&=1= A3;7ocu)en%a%ion

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!A - -roub/es$oo%ing REAPER !A -roub/es$oo%ing REAPER

This section aims to help you resolve problems that are sometimes encountered by new users.

!A.#

1npu%&*u%pu% 1ssues

1npu% *u%pu% 1ssues

Prob/e)
+$en 1 p/ay bac(? )y audio %rac( is si/en%? even %$oug$ %$ere is ac%ivi%y in %$e %rac(Ns VU )e%er.

7iagnosis and Possib/e 6o/u%ion

The problem is likely to be either with your routing in '()P(', your sound cardIs settings or with your audio hardware setup. REAPERNs Rou%ing: ake sure that the trackIs 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. 6ound 9ard 6e%%ings: -se the control software supplied with your soundcard to make sure that none of the following has occurred2 Butput muted, or volume lowered too much. Butput patched to different hardware output. Audio ,ard'are 6e%up: ake sure that the amplifier is connected to the same outputs on the soundcard as the output of the aster. ake sure that everything is connected to the power supply, switched on, and with appropriate volume levels. -se =indows Device anager AControl Panel, Dystem, Mardware, Device anager, Dound Sideo and /ame ControllersE to ensure the device is enabled and functioning correctly. -ips: Bpening a different audio application and playing any wave file can help you determine whether the problem lies within '()P(' or with your Dound Card or )udio Detup. The device may not be connected, or may be in use by another program. Check that the device is connected and supplied with power. Check whether another program has use of the *D* device. Check that you have not accidentally opened '()P(' twice. The problem is likely to be specifically related to that track or item, especially if you have other pro@ects which do play correctly. ake sure that the track has not been muted. ake sure that the item has not been muted Aright click over item, *tem PropertiesE. Check the F; =indow for the track to make sure there is no F; which is causing the track to be silenced. Check the trackIs volume fader to make sure it is not set too low. The problem could be happening in the trackIs F; window or in the plug.inIs own window, or both. Check that the trackIs F; =indow has not been set to bypass mode. Check that the individual F; has not been set to bypass mode.

1 ge% an error )essage %o %$e effec% %$a% 3171 deviceEsF canno% be opened

+$en 1 p/ay bac(? )y audio %rac( is si/en%? and %$ere is no ac%ivi%y in %$e %rac(Ns VU )e%er.

+$en 1 p/ay bac(? 1 donN% $ear so)e or a// of a %rac(Ns F8 being app/ied

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Up and Running: A REAPER User Guide v 4.59

1npu% *u%pu% 1ssues
Prob/e) 7iagnosis and Possib/e 6o/u%ion
This might occur in the F; Chain window or with some plug.ins within the plug.inIs own window. Check that the plug.inIs =et3Dry mi, setting Awhere presentE has not been set to %""L dry. +$en 1 p/ay bac(? 1 ge% c/ic(s? pops? s%u%%ers or dropou%s This probably means that you are attempting to play this pro@ect at a latency too low for your system. This is more likely to happen if you use a large number of CP- hungry F; such as 'everb. Try one or more of these remedies2 Consider whether you can rearrange your mi, to use fewer CPintensive plug.ins, for e,ample by making more use of F; busses to share F; used by more than one track. *f you are using a high sample rate, such as 66!"" or %#R&"", try a lower one. /o to File, Pro:ec% 6e%%ings and reduce the Dample rate to &&%"". This will reduce the load on the CP- and you will probably find that you can live with any perceived difference in sound Huality. Consider increasing buffer si<e. This will increase latency, but should not be a problem when playing back. /o to Bptions, Preferences, Audio 7evice. Click on )D*B Configuration to bring up the Control Doftware for your sound card. *ncrease buffer si<e, perhaps to %!6" samples. Check your Audio 5uffering preferences, especially for F8 processing&)u/%iprocessing. >e prepared to e,periment with 'ender ahead si<e and with which options are allowed. This can arise as a result of routing problems, for e,ample when you have any track or tracks routed to the aster by several different routes at the same time. Check the 'outing atri, This could be caused by a routing problem, or by some F; or combination of F; which might be distorting your sound. Check the 'outing atri, to see if any track or tracks is3are being directly routed to the same audio hardware output as the aster. *f this isnIt the cause of the problem J Disable all F; to see if this fi,es the problem. *f it does, reintroduce the F; gradually until you can identify which is causing the problem. This can be a routing, sound card or setup issue G 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* Butput device or software synthesi<er. *f you are using a *D* Mardware device, display the trackIs 'outing =indow and make sure it is assigned to a *D* Mardware Device. *f you are not using a *D* Mardware device, display the F; =indow for the track, and insert a software synthesi<er of your choice Ausually D;i or SDTiE. The problem here could lie either with your '()P(' settings or with your hardware set up. ake sure the track is armed for recording. ake sure that the track has been assigned an input.

+$en 1 p/ay bac(? %$e 3as%er c/ips in%o %$e red and dis%or%s? even %$oug$ %$e %rac( /eve/EsF appear Iui%e /o' +$en 1 p/ay bac(? %$e audio sounds c/ipped? even %$oug$ i% doesnN% appear %o be visib/y c/ipping any'$ere

+$en 1 %ry %o p/ay an i)por%ed 3171 %rac(? i% is si/en%

+$en 1 %ry %o record audio? no%$ing is recorded

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!A - -roub/es$oo%ing REAPER
1npu% *u%pu% 1ssues
Prob/e) 7iagnosis and Possib/e 6o/u%ion
Check ABptions, Preferences, )udio DeviceE that your range of audio inputs has been defined and enabled. ake sure under the Bptions menu that you have the correct reHuired 'ecord ode set Ausually this should be ?ormalE. Check that 'ecord *nput is enabled. Br, if you have selected 'ecord Butput, check the F; window for any F; that could be silencing the trackIs output. ake sure that the microphone or lead for the instrument being recorded is connected to the correct audio input. *f the microphone reHuires phantom power, make sure that the phantom power supply is enabled. Check your audio input mi,er Ae,ternal hardware desk, sound card mi,er software, or bothE to make sure that the incoming signal is correctly routed. Check your audio input mi,er Ae,ternal hardware desk, sound card mi,er software, or bothE to make sure that the incoming signal is not muted. 1 donN% $ave enoug$ 9PU %o p/ay bac( )y pro:ec% )lmost certainly, this is because you are trying to use more F; than your D)= can handle. -se the Performance eter to determine which tracks are using the most CP- hungry F;. Then right click over the media items for those tracks and either App/y F8 %o i%e)s as ne' %a(e or App/y F8 %o i%e)s as ne' %a(e E3onoF.

!A.!

REAPER 1n%erface 1ssues

1n%erface 1ssues
Prob/e)
+$en 1 press 6pace Eor so)e o%$er -ranspor% 9on%ro/F? no%$ing $appens

7iagnosis and Possib/e 6o/u%ion

This happens when focus is with another window, such as the 'outing atri,, or an open Dialog >o,. Two possible solutions are2 /ive focus to another view such as the Track Siew or i,er before pressing the key, or -se an e,ternal *D* control device such as a >C'!""" and assign transport functions to its various buttons. These will then work regardless of which window has focus, or whether a dialog bo, is open. Dnapping may be enabled. *f so, use the Bptions, (nable Dnapping command to disable it. Dnapping may be enabled. *f so, use the Bptions, (nable Dnapping command to disable it.

+$en 1 %ry %o p/ace %$e edi% cursor e4ac%/y '$ere 1 'an% i%? i% )oves a /i%%/e +$en 1 %ry %o )a(e a %i)e se/ec%ion? %$e s%ar% and end poin%s )ove fro) '$ere 1 'an% %$e). 1 add a Vo/u)e or Pan enve/ope %o a %rac(? bu% '$en 1 p/ay bac(

ake sure that )utomation armed.

ode is set to 'ead and the envelope is

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Up and Running: A REAPER User Guide v 4.59

1n%erface 1ssues
Prob/e)
%$e fader does no% )ove. 1 record )u/%ip/e %a(es on a %rac(? bu% on/y %$e /as% one is visib/e. To view all takes for a track, choose the Bptions, Dhow )ll Takes in Oanes Command, or To view a take other than the last take, right click over the media item and choose the Take command from the conte,t menu. Check your Sertical Toom >ehavior settings under Bptions, Preferences, (diting >ehavior. Kou probably want to set this to Oast Delected Track. Check your Mori<ontal Toom >ehavior settings under Bptions, Preferences, (diting >ehavior. Kou probably want to set this to (dit Cursor or Play Cursor. This can be tricky, and can sometimes happen because of changes made to your =indows display settings. There are two main ways to fi, this. -se =indows ?otepad to edit the reaper.ini file in the folder C2UDocuments and DettingsU-ser ?ameU)pplications DataU'()P('. This should only be attempted if you are confident that you understand what you are doing. For e,ample, if the >ig Clock has been lost, delete only that section of the reaper.ini file, save it, close it, then restart '()P('. For e,ample, in the reaper.ini file e,tract shown here, the >ig Clock section is shown as italici<ed2 [flac encoder defaults\ defaultNsi<e5%! default5R1R%RCRR%""""""""P"""""")> [bigclock\ wndNvis5% wndNleft5QR# wndNtop5R"" wndNwidth5&!R wndNheight5%1# timeNmode5" [namecache\ )nalogN*nN%NDeltaN%"%"NN%N5*n % ) safer option would be to simply rename this file as reaper.o/d or similar. This will return all preferences and options to their original default settings ne,t time you run '()P('. /o to Bptions, Preferences, /eneral and disable Create -ndo points for item3track selection.

7iagnosis and Possib/e 6o/u%ion

+$en 1 )a4i)iDe a %rac(? %$e 'rong %rac( is disp/ayed +$en 1 Doo) in $oriDon%a//y? %$e edi% cursor disappears fro) vie' and 1 /ose )y p/ace 1 %ry %o vie' a 'indo'? suc$ as 5ig 9/oc( or Perfor)ance 3e%er? bu% 1 canN% see i% on %$e screen

3y Undo ,is%ory 'indo' is c/u%%ered 'i%$ every i%e) and %rac( se/ec%ion 1 )a(e

!A.A

-roub/es$oo%ing Record 3odes and 3oni%oring

*t can be difficult at first to understand how various permutations of '()P(':s record modes Aavailable from the Bptions menuE and monitoring options Afrom a track:s arm record conte,t menuE can be used together to obtain different results. * am indebted to table below2 o$n 5erci( for supplying me with the information in summary form that is contained in the

-nlock your inner '()P(' with REAPER 4 Un/eas$ed2 &"R

!A - -roub/es$oo%ing REAPER

Record 3ode

3oni%or *p%ions
3oni%or inpu% *= 3oni%or %rac( )edia '$en recording *FF 3oni%or inpu% E%ape au%o s%y/eF *= 3oni%or %rac( )edia '$en recording *FF

5e$aviors
=hen stopped2 monitors live material only =hen playing2 monitors e,isting and live material continuously =hen recording2 monitors live material only Dtopped2 monitors live material Playing2 monitors e,isting material only 'ecording2 monitors e,isting and live material Dtopped2 monitors live material Playing2 monitors e,isting and live material continuously 'ecording2 monitors e,isting and live outside punch, only live inside punch Dtopped2 monitors live material Playing2 monitors e,isting material, then only live in punch 'ecording2 monitors e,isting material, then only live in punch Dtopped2 monitors live material Playing2 monitors e,isting and live material continuously 'ecording2 monitors e,isting and live outside punch, then only live material in punch Dtopped2 monitors live material Playing2 monitors e,isting material only 'ecording2 monitors only e,isting material outside punch, then only live material in punch Dtopped2 monitors live material Playing2 monitors e,isting and live material continuously 'ecording2 monitors e,isting and live outside and inside punch Dtopped2 monitors live material Playing2 monitors only e,isting material 'ecording2 monitors e,isting material outside punch, then e,isting and live inside punch Dtopped2 monitors live material Playing2 monitors e,isting and live material continuously 'ecording2 monitors e,isting and live outside punch, then records and monitors live material in selected items Dtopped2 monitors live material Playing2 monitors e,isting material only 'ecording2 monitors only e,isting material outside punch, then records and monitors live material in selected items Dtopped2 monitors live material Playing2 monitors e,isting and live material continuously 'ecording2 monitors e,isting and live outside punch, then records and monitors live material in selected items Dtopped2 monitors live material Playing2 monitors only e,isting material, then only live in punch 'ecording2 monitors e,isting selected itemAsE, then records and monitors live material in selected items

=or)a/ 3oni%or inpu% *= 3oni%or %rac( )edia '$en recording *= 3oni%or inpu% E%ape au%o s%y/eF *= 3oni%or %rac( )edia '$en recording *= 3oni%or inpu% *= 3oni%or %rac( )edia '$en recording *FF 3oni%or inpu% E%ape au%o s%y/eF *= 3oni%or %rac( )edia '$en recording *FF 3oni%or inpu% *= 3oni%or %rac( )edia '$en recording *= 3oni%or inpu% E%ape au%o s%y/eF *= 3oni%or %rac( )edia '$en recording *= 3oni%or inpu% *= 3oni%or %rac( )edia '$en recording *FF 3oni%or inpu% E%ape au%o s%y/eF *= 3oni%or %rac( )edia '$en recording *FF 3oni%or inpu% *= 3oni%or %rac( )edia '$en recording *= 3oni%or inpu% E%ape au%o s%y/eF *= 3oni%or %rac( )edia '$en recording *=

-i)e 6e/ec%ion Au%o Punc$

Au%o Punc$ 6e/ec%ed 1%e)s

For a spiral.bound hard copy of this -ser /uide for about 01" go to .U.U.co) &"#

Up and Running: A REAPER User Guide v 4.59

-nlock your inner '()P(' with REAPER 4 Un/eas$ed2 &"6

1nde4 1nde4
1
14-bit CC messages........................214 14-bit MSB/LSB CC data...............218 a*to-sa,e........................................3($ a*tocross5ade mo*se modi5iers.......12$ A*tomatic record arm.......................(7 A*tomating A*tomation.................331 A*tomating "# 7arameters on t%e "36 ...................................................33! A*tomation.............................33$, 34! a*tomation en,e3o0es.....................313 a*tomation 3anes, %iding.................321 A*tomation Latc%...........................318 A*tomation Met%ods......................313 A*tomation Modes.................31 , 317 A*tomation 9ead....................31(, 318 A*tomation 8rite...................31(, 318 a*tomation, %ard4are o*t0*t sends 33! A*tomation, M*te/:nm*te.............317 A*tomation, &rim/9ead..................318 A*tomation, 4riting.......................31( a*tosa,e...........................................(3 A*;i3iar6 .n0*t...............................2$8 c%anne3 s4itc%ing *ti3it6.................3!7 c%anne3s..........................................2$7 c%or*s.............................................28 c%romatic M.-. item, creating.......1 1 c%romatic midi, *sing.....................1 1 C3ean C*rrent 7ro)ect -irector6.....378 C3ear en,e3o0e................................388 C3ic' So*rce, inserting...................331 c3ic's, 0o0s, st*tters.......................4!4 c3i00ing..........................................4!4 C3ose "# 4indo4...........................3$! co3or, c*stomi<ing..........................1$! co3or, set trac's to c*stom................84 co3or, set trac's to random................84 co3ors, order o5 0recedence.............14( co3o*r t%emes...................................84 Commands.......................................1$ com0 management..........................38( com0 sets, reca33ing........................141 com0 sets, sa,ing............................141 Com0ressed "i3e S*00ort.................18 Com0ression...................................278 com0ression, d6namic....................33$ com0ressor, digita3 dr*ms...............28 con5ig*ration, e;0ort......................3(8 con5ig*ration, im0ort......................3(8 Conso3idating a 0ro)ect...................34 Conte;t Men*s.................................1$ contin*o*s scro33.......................31, 3 ( contro3 c%ange messages................211 Contro3 C%anne3 Editing.................212 contro3 s*r5ace................................2!3 Contro3 S*r5ace, insta33ing................2( contro3 s*r5ace, setting *0...............2(8 contro3 s*r5ace, *sing.....................2(8 Contro33ed B3eed............................2$1 Contro3s............................................1$ Co06 a33 "#....................................3$! Co06 .tems.....................................113 Co06 3oo0 o5 se3ected area o5 items ...........................................383, 384 Co06 se3ected area o5 se3ected items ...........................................383, 384 Co06 se3ected en,e3o0e 0oints........387 Co06 se3ected "#...........................3$! Co06 se3ected items........................384 co06ing en,e3o0es 4it% media items ...................................................32 C7: *sage......................................3 2 create ne4 0ro)ect.............................2$ Creating trac's.................................(( Cro0 0ro)ect to se3ection.................383 Cro0 7ro)ect to Se3ection................12$ Cross5ade Editor 1see C%a0ter 2...14! cross5ade actions............................12$ cross5ade editing.............................127 Cross5ade Editor.............................127 cross5ade *ti3it6..............................3!7 Cross5ades........................................ 2

A
Action List.....................................331 Action List Editor...........................248 Actions...........................................247 actions, meta actions.......................2 ! Add "#...................................1!!, 38$ Add "# c%ain.................................38$ Add "# C%ain..................................41 Add &rac'.........................................(( Ad)*sting &rac' +eig%t....................3 Ad,anced -is' .// /0tions...........3 4 aggregate de,ice 1/S #2..................23 A."".................................................32 A3iasing............................................23 a33o4 5eedbac'.................................33 am03i5ier sim*3ator.........................28 ang*age 0ac's..................................28 Antici0ati,e "# 0rocessing............1!4 a00earance 0re5erences...................3 A003ication -ata -irector6..............27 A0036 "# to items as ne4 ta'e.......384 A0036 trac' "# to items.................144 AS./ Con5ig*ration.................22, 3 2 AS./ dri,ers..................................3 2 AS./ 7ositioning 7rotoco3.............3$$ AS./4ALL...................................... ! AS./4ALL 18indo4s2....................22 associated 0ro)ect 5i3e.....................2! Attac% -oc'er..................................(! Attac'.............................................28! a*dio b*55ering...............................3 4 A*dio C- .mage............................34$ a*dio C-, b*rning..........................3(3 a*dio C-, im0orting 5rom................74 a*dio c3ic's and 0o0s.....................3 1 A*dio de,ice....................................22 A*dio -e,ice....................22, 3 1, 3 2 A*dio -e,ice, enab3ing..................4!( a*dio dro0o*ts................................3 1 A*dio -*c'ing...............................2$$ a*dio 5ormat, con,erting..................8! A*dio +ard4are /*t0*ts..................48 A*dio +ard4are Set*0...................4!3 A*dio in0*ts.....................................22 A*dio /*t0*t....................................33 A*dio o*t0*ts...................................22 a*dio 0re5erences............................3 3 A*dio 7re5erences............................24 A*dio 7rob3ems..............................4!3 A*dio set*0......................................22 a*dio stream...................................3 2 A*dio S6stem...................................22 a*to 0*nc%........................................ 1 a*to 0*nc% recording........................

B
bac'*0....................................3($, 378 bac'*0, a*tomatic............................(3 Bass................................................272 batc% 5i3e con,erter.........................34( batc% rendering...............................3(! beat correction................................1(7 beat detection.................................1(7 Big C3oc'.........................................3( b*55er si<e.......................................3 1 b*55er si<e, increasing.....................4!4 b*55ers............................................3 1 B*rn A*dio C-..............................3(4 B*rn A*dio C- .mage....................3(4 b*rn to C-......................................34$ B*s...................................................42 B*s trac'..........................................88 B*s, creating.....................................43 B60ass an "#...................................4!

C
CC Lane.........................................213 CC 3ane management......................23( CC 3ane, conte;t men*...................214 CC 3ane, mar=*ee se3ection............214 CC 3anes, resi<ing...........................214 C- A*dio.......................................34$ C- a*dio, im0orting 5rom................74 C- b*rning.....................................34$ C- B*rning......................................18 C- .mage.......................................34$ Center &rans0ort Contro3s..............38$ C%anne3 Mi;er................................3!( c%anne3 ro*ting 03*g-ins.................3!7 c%anne3 s03itting.....................18(, 2$2 C%anne3 S03itting....................1 4, 2$

&"Q

Up and Running: A REAPER User Guide v 4.59

c*rsor be%a,io*r.............................37! c*stom actions, creating.................2(( c*stom actions, *sing.....................2(7 c*stom co3ors.................................3 8 C*stom S03as% Screen....................378 c*stom too3bar, doc'/*ndoc'..........2 $ C*stomi<ations.................................18 C*t .tems........................................113 C*t se3ected en,e3o0e 0oints..........387 C*t se3ected "#..............................3$! en,e3o0e 0ane3................................318 en,e3o0e 0oint, mo,e.....................32! en,e3o0e 0oints, se3ect m*3ti03e......32! En,e3o0e Settings...........................3 7 En,e3o0e S%a0es............................324 en,e3o0e, m*te...............................317 en,e3o0e, 03a6 s0eed.......................332 en,e3o0e, 0oint s%a0es....................323 en,e3o0es........................................313 En,e3o0es...............................31(, 31 en,e3o0es 0re5erences.....................371 En,e3o0es 8indo4.................313, 314 En,e3o0es, ad)*sting.......................31$ en,e3o0es, b60ass mode.................318 en,e3o0es, co06ing 4it% media items ...................................................32 en,e3o0es, 3oc'ing..........................332 En,e3o0es, 3oc'ing.........................18$ en,e3o0es, 0er media item..............33! en,e3o0es, 0er ta'e.........................33! en,e3o0es, sends.............................314 en,e3o0es, 4it% "# 0arameters.......328 E?..................................................272 e=*a3isation....................................272 E;citer............................................284 e;0ander.........................................288 E;0ort Li,e /*t0*t to -is'............3(( e;0ort to M.-. 5i3e.........................237 E;0ort &rac's.................................34 E;0orting........................................34 e;terna3 de,ice, s6ncing to.............3$$ e;terna3 dri,e, insta33ing 9EA7E9...28 E;terna3 Editor...............................111 E;terna3 "#, recording 4it%.............7 "rame 9ate.......................................32 5ree item 0ositioning.......................134 "ree .tem 7ositioning....................... ( "ree<e =*anti<ation........................22 5ree<e trac's....................1!(, 1! , 1$ 5ree<e, on-3ine "# on36...................1!7 5ree<e, se3ected "#.........................1!7 5re=*enc6 bands.............................272 5re=*enc6 s0ectr*m........................272 "# Add.............................................3$ "# Ba6...........................................1$4 "# B*s.............................................42 "# b60ass.........................................4! "# B60ass........................................41 "# c%ain, create de5a*3t....................41 "# C%ains, bac'*0.........................1!! "# C%ains, restore..........................1!! "# contro3s.....................................2!2 "# contro3s, adding to Mi;er.........174 "# co06............................................4! "# co06ing.....................................1!1 "# -e,ice, e;terna3..........................7 "# distortion..................................28 "# 53anger......................................28 "# @ro*0s........................................$$ "# .nstance, renaming...................1!2 "# mo,e...........................................4! "# name, c%anging de5a*3t.............1!2 "# 0arameters, a*tomating.....328, 32$ "# 0arameters, a*tomating on t%e 536 ...................................................33! "# 7er5ormance Monitoring............44 "# 0er5ormance, o0timi<ing...........1!4 "# 0%aser.......................................28 "# 03*g-in 0arameter contro3s........272 "# 73*g-in Settings..........................41 "# 0resets.................................3$, 27( "# 0resets, creating........................27( "# 0resets, e;0orting.....................27( "# 0resets, im0orting.....................27( "# 0resets, *sing............................27( "# 0rocessing.................................3 4 "# 7rocessing 73*g-ins....................18 "# 9emo,e......................................4! "# Sa,e C%ain.................................41 "# Sa,e C%ain as de5a*3t.................41 "# tree 3a6o*ts...............................11! "# 4a%...........................................28 "# 4et/dr6 mi;................................4! "# 8indo4....................................4!3 "# 4indo4 o0en............................1!1 "#, c%anging name........................1!2 "#, de5a*3t settings........................1!2 "#, 5i3tering....................................1!! "#, 0ara33e3 0rocessing...................3!( "#, 0er item...................................1!2 "#, rename instance.......................1!2 "#, togg3e b60ass.............................44

-C o55set remo,a3..........................288 de-esser..........................................27$ de5a*3t settings, restoring................38! -e3a6......................................273, 274 -e3a6 C%or*s..................................2$3 -e3ete en,e3o0e 0oint.....................387 -e3ete en,e3o0e 0oints in 3oo0 se3ection.....................................387 -e3ete .tems...................................114 -e3ete se3ected en,e3o0e 0oints......387 de3eted items, remo,ing..................378 -es'to0 .con....................................18 -etector .n0*t................................2$8 -igita3 -r*ms Com0ressor.............28 dit%er..............................................348 -oc' "# 4indo4 in doc'er............3$! -oc' trans0ort in Main 8indo4....38$ -oc'er..............................................(! -oc'er, detac%ing.............................(! doc'ers, m*3ti03e............................2!4 -oc'ing............................................(! do4n3oad 9EA7E9..........................17 dro0o*ts..........................................4!4 dr*m se=*encer..............................23$ d*c'ing...........................................2$$ -*c'ing..........................................2$7 d*c'ing, do*b3e d*c'ing................2$$ -*03icate se3ected trac's................381 ->- A*dio So*ndtrac'.................348 d6namic com0ression.....................33$ -6namic s03it.........................1(8, 1($ -6namic S03it................................1 $ -6namic S03itting..........................137

"
5ade actions....................................12$ "ade .n............................................11$ 5ade mo*se modi5iers.....................12$ "ades, ad)*sting..............................12 5ades, d*ration.................................. 2 ""&................................................277 "i3e Locations...................................2 5i3e management.............................378 "i3e, Bac'*0.....................................3! "i3e, 7ro)ect......................................3! "i3e, 9ea0er 7ea's............................3! "i3e, 9ender....................................3(4 "i3e, :ndo +istor6............................3! "i3tering &rac' "#..........................1!! 5inis%ed song, rendering.................34$ "LAC...............................................32 "3anging.........................................28 "3oating............................................(! 53oating too3bar, doc'/*ndoc'.........2 $ 53oating 4indo4s..............................(1 5o3der contro3s..................................8$ 5o3der drag and dro0.........................$! 5o3der management...........................$! 5o3der, creating.................................8$ 5o3der, ret*rning to trac' stat*s.........$! 5o3ders, nested..................................$1

E
Editing Be%a,ior 7re5erences.........37! Editing .tems..................................111 Editing settings...............................112 editing, trim content be%ind media item............................................117 Embed 0ro)ect tem0o......................34 Em0t6 E,ents................................... ( Em0t6 .tem....................................... Em0t6 M.-. item, creating............2!8 Enab3ing 03*g-ins.............................2( en,e3o0e b*tton......................314, 31 En,e3o0e de5a*3t 0oint s%a0e..........323 en,e3o0e editing o0tions.................371 en,e3o0e 3anes................................313

@
@ain................................................278 g3oba3 a*tomation o,erride.............318

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1nde4
@3*e................................................131 @3*e se3ected item..........................147 @3*e se3ected items.................132, 384 @3*e Se3ected .tems........................13$ @o bac' a 3itt3e.................................34 @o 5or4ard a 3itt3e............................34 @o to end o5 0ro)ect..........................34 goniometer.....................................287 grid 3ines..........................................87 grid settings......................................87 @rid settings...................................11 grid sna0 s0acing............................11 grid, set to 5rame..............................87 @ro*0.............................................383 @ro*0 contro3sA Master on36.............$4 @ro*0 contro3sA Master/S3a,e...........$4 @ro*0 contro3sA S3a,e on36...............$4 gro*0 mode, a*tomation.................32 gro*0ed 0arameters, a*tomation.....32 @ro*0ing........................................13! gro*0ing items................................13! @ro*0ing Matri;.........................$3, $4 @*itar "# 73*g-ins.........................28 in0*ts, se=*entia3..............................(7 .nsert em0t6 s0ace at se3ection.......383 .nsert mar'er D.............................382 insert m*3ti03e trac's........................( .nsert note.......................................221 .nsert time signat*re mar'erD.......382 .nsert trac'.....................................381 .nsert, Em0t6 s0ace at time se3ection ...................................................133 .nserting &rac' "#...........................38 .nsta33 -irector6...............................27 insta33 9EA7E9 /S #......................17 .nsta33 9EA7E9 to :SB 'e6 1$, 2$, 3! insta33 9EA7E9, 8indo4s...............17 .nsta33ed "o3ders...............................2 .nter5ace .ss*es...............................4!( internet a*dio, recording...................7$ .n,ert se3ected 0oints......................387 .tem C%anne3 Mode........................122 item co3o*rs....................................121 .tem "#, managing.........................1!3 .tem @ro*0ing................................13! .tem mi; be%a,ior............................33 .tem Cotes......................................12! .tem 7ro0erties........................11$, 4!3 .tem 7ro0ertiesD............383, 38(, 38 item se3ection sets...........................2!! .tem Settings...........383, 384, 38(, 38 .tem &imebase................................11$ .tem ,o3*me %and3e........................121 .tem ,o3*me '................................121 .tem ,o3*me 'nob...........................121 item, indi,id*a3 "#........................1!2 item, mo,e......................................114 item, n*dge.....................................114 item, s3ide.......................................114 .tems, 3oc'ing.................................18$ 'e6board s%ortc*ts, 5or recording...2(3 'e6board s%ortc*ts, im0orting........2(( 'e6board s%ortc*ts, sections...........2(3 'e6board s%ortc*ts, s%o4 3ist............(2 Fe6board, >irt*a3............................. 7 'e6ma0 sets, e;0orting...................2(( 'e6ma0 sets, im0orting...................2((

L
3ameGenc.d33...................................347 Lanes................................................ 3 3anes, a*tomation............................313 Latc%..............................................318 3atenc6...................... !, 3 1, 3 4, 4!4 La6ered 9ecording........................... ! La6o*ts...........................................2!1 La6o*ts. Mi;er...............................2!1 La6o*ts. &rac'................................2!1 3imiter.............................................288 Limiter...........................................274 Linear &ime Code...........................3$$ Linear/3ongit*dina3 time code.........4!! Lin' trac' ,o3*me/0an to M.-.82, 2!7 Li,e /*t0*t....................................3(( Load de5a*3t trac' c%ain.................3$! Loc' Settings..................................18$ Loc'ing..........................................18$ Loc'ing .tems.................................18$ Loc'ing media items......................188 Loc'ing trac' contro3s....................188 Loo0 o,erd*bbing...................... 1, 8 3oo0 0oints......................................11( 3oo0 0oints, 3in' to time se3ection...11( 3oo0 se3ection................................... 1 3oo0 se3ection s'i00ing.....................34 Loo0 Se3ection, 3oc'ing..................18$ Loo0 Se3ection, managing................4 3oo0 se3ection, modi56ing.................4 Loo0, creating................................147 Loo0ed 0oints 3in'ed to time se3ection .....................................................4 3oo0ed time se3ection recording. . 1, 8 Loo0ing..........................................147 Loo0s...............................................4( 3o4 0ass 5i3ter.................................288 L&C........................................3$$, 4!! L6ric e,ents....................................23(

+
%ard4are o*t0*ts, s0eci56ing..........184 %armonies, creating........................1 4 +ead0%one b3eed............................2$1 %ead0%one mi;................................. ! %ead0%one mi;, creating...................8 +ead0%one Monitoring.....................8( +ea3 S03it .tems..............................113 +ide &rans0ort................................38$ %ig% 0ass 5i3ter................................288 +ig% 9ange....................................273 %iss remo,a3...................................281 +o3d...............................................28! +ori<onta3 Scro33..............................37 +ori<onta3 Boom..............................37 +&ML Lists 1a*to-generated2.........247 +*mani<e notes..............................217 +*mani<e Cotes.............................227

E
Ees*sonic "#....................................38 )o6stic' M.-. de,ice, insta33ing.......2( E*m0 &o............................................47 E*m0 to Mar'er......................388, 38$

.
.// B*tton........................................48 image 5i3e.......................................34$ im0ort a*dio 5rom C-......................74 im0ort 0re5erences............................73 im0orted media 5i3e 5ormats.............8! im0orting a 0ro)ect 5i3e.....................($ .m0orting Media...............................7! im0orting M.-. 5i3e..........................74 .n-Line M.-. Editing.....................23 indi,id*a3 items, 3oc'ing................188 .n0*t A3iasing...................................23 in0*t assignment...............................(( in0*t monitoring.............................3 1 .n0*t Monitoring.................. !, , 7 .n0*t ?*anti<e................................227 .n0*t, A*;i33iar6.............................2$8 .n0*t, Main.....................................2$8

F
'e6board assignment, c%anging......2(2 'e6board s%ortc*t, assigning m*3ti03e actions........................................2(( 'e6board s%ortc*t, c%anging...........2(2 'e6board s%ortc*t, creating.............2(1 'e6board s%ortc*t, remo,ing..........2(2 'e6board s%ortc*ts..................1$7, 2(3 Fe6board S%ortc*ts..........................1$ 'e6board s%ortc*ts, assigning to a contro3 s*r5ace............................2(8 Fe6board S%ortc*ts, c*stomi<ing...247 'e6board s%ortc*ts, e;0orting.........2(( 'e6board s%ortc*ts, 5or media e;03orer ...................................................2(4 'e6board s%ortc*ts, 5or M.-. editor ...................................................2(4

M
macro, creating...............................2(( Main .n0*t......................................2$8 Main Men*.................................1$, 2! Main 8indo4...................................21 Managing &rac's..............................81 mar'er, co3oring.............................148 Mar'er, inserting............................148 Mar'er, naming..............................148 mar'er, sna0 to...............................14$ Mar'ers..........................................148 mar'ers, co06ing............................1(3 Mar'ers, 3oc'ing............................18$

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Up and Running: A REAPER User Guide v 4.59

Mar'ers, na,igating........................148 mar'ers, remo,ing..........................1(! mar=*ee modi5ier 'e6s...................114 Master............................................4!4 MAS&E9 o*t0*t b*s........................21 Master 7arent Send...........................48 Master &rac'..................................184 Master, dis03a6 in &rac' >ie4..........81 Meas*res..........................................4 meas*res, creating 5rom time se3ection ...................................................1(7 media c*es......................................1(3 media c*es, con,erting to mar'ers. 1(4 media c*es, creating 5rom mar'ers. 1(3 Media E;03orer...................18, 7!, 3(3 media e;03orer database...................72 media e;03orer, 5i3ter........................71 media e;03orer, time se3ection..........71 Media "i3e, inserting........................7! Media 5o3ders s%ortc*ts 3ist..............71 media item b*ttons.........................3 8 media item 3abe3s............................3 7 Media .tem 7ro0erties....................13( Media item settings........................37( media item, s3i0 editing..................12 media items, co3o*rs.......................121 media items, de5a*3t settings..........3 1 media 0ea' cac%e settings..............37( Media 0re5erence settings...............37( media 0re5erences...........................37( media, insert in 0ro)ect...................3$! media, *se as so*rce.......................3$! men*s, c*stomi<ing........................2 4 Men*s, c*stomi<ing................247, 2 4 men*s, e;0orting............................2 ( men*s, im0orting............................2 ( meta actions....................................2 ! Meta actions...................................2 ! Metronome.......................................(7 Metronome Enab3ed.........................(7 metronome o*t0*t............................(7 Metronome Settings.........................(7 Metronome, a*tomating.................331 Mid 9ange......................................272 M.-..................................................... M.-. Editor, creating notes............22! M.-. editor, manage trac's............1$ M.-. "i3es, im0orting......................74 M.-. "i3ter E,ents 4indo4............231 M.-. 5i3ters....................................2!$ M.-. +ard4are -e,ice..................4!4 M.-. +ard4are /*t0*t....................48 M.-. in0*t de,ice............................ M.-. in0*t 4it% se=*entia3 c%anne3s 8 M.-. .tem........................................ 7 M.-. item, creating........................2!8 M.-. items, smart editing..............21( M.-. items, time se3ection.............21( M.-. 'e6 ma00ing.........................23$ M.-. 3atc%-re03ace........................... 8 M.-. 3oo0 recording......................3 M.-. Media .tem Lane...........23!, 232 M.-. Media .tem Se3ector.............23! M.-. Cote 0re,ie4........................218 M.-. octa,e name dis03a6 o55set....23$ M.-. /*t0*t de,ice, time o55set......2( M.-. o,erd*b.................................. 8 M.-. 03*g-ins................................23$ M.-. 0re5erences...................241, 37 M.-. 9ecording............................... M.-. re03ace.................................... 8 M.-. ro*ting..................................238 M.-. scr*b.....................................223 M.-. sends and recei,es................2!7 M.-. Set*0......................................24 M.-. sna0 settings.........................218 M.-. so*rce data 0oo3....................237 M.-. time code..............................4!! M.-. &ime Code............................3$$ M.-. to*c%-re03ace.......................... 8 M.-. &rac' List......................23!, 231 M.-. trac' not 03a6ing...................4!4 M.-. &rac' Se3ector.......................23! M.-.G9o*ter..................................23$ midiGtrans0ose...............................23$ M.-.G>e3oci5ier.............................23$ M.-., e;0ort to 5i3e........................238 M.-., .nsert Cote...........................217 Min*tes............................................4 Mi;er..............................................171 Mi;er A00earance..........................181 Mi;er Co3o*r &%emes.....................181 mi;er 3a6o*t o0tions.......................171 mi;er 3a6o*ts..................................178 Mi;er 3a6o*ts.................................171 Mi;er 0re5erences...........................181 mi;er, %iding trac's........................173 mi;er, managing "#.......................173 mi;er, managing sends...................17 mi;er, on-screen ad)*stments.........177 Mi;ing -o4n.................................34( Monitor e;terna3 s6nt%...................2!7 Monitor .n0*t...................................7( Monitor .n0*t D............................38 Monitor .n0*t 1&a0e A*to St63e2...... ! Monitor trac' media 4%en recording 1 monitoring o0tions.........................4! Mon'e6Hs A*dio.............................34 mo*se be%a,ior 0re5erences...........373 mo*se modi5ier settings, sa,e/restore ...................................................2 3 mo*se modi5iers(2, 84, 114, 12$, 132, 13(, 13 , 172, 2!8, 233, 247, 2 1, 32! mo*se modi5iers, c%anging...127, 2 1, 32! Mo*se Modi5iers, c*stomi<ing.......247 mo*se modi5iers, in M.-. editor....2 3 mo*se modi5iers, s%o4 3ist...............(2 Mo*se, c*stomi<ing be%a,ior.........373 Mo*se4%ee3.....................................37 mo*se4%ee3 assignments................2(( Mo,e a33 media into 0ro)ect director6 .....................................................(4 M73............................................18, 32 M73 5ormat............................34 , 34$ MSB...............................................224 MSB/LSB CC data.........................224 M&C...............................................4!! M*3tiband Com0ression.................282 m*3tic%anne3 5ormat.......................34$ m*3tic%anne3 metering, togg3e........3!8 m*3tic%anne3 recording.....................(8 m*3tic%anne3 trac's..........................(8 m*3tic%anne3 >: meters.............(8, $7 m*3ti03e a*dio o*t0*ts......................23 m*3ti03e c%anne3s............................2$2 M*3ti03e .tem 7ro0erties.................1 7 m*3ti03e notes, editing....................222 m*3ti03e o*t0*t >S&i........................ $ m*3ti03e 0ro)ect ,ersions.........2! , 3($ M*3ti03e &a'es.................... 2, 4, 13$ m*3ti03e trac's, inserting..................( m*3tisam03ing.................................3!3 m*3titas'ing....................................3 2 M*te.................................................3( M*te a*tomation en,e3o0e, creating ...................................................317 M*te Contro3s..................................82 M*te .tem.......................................11$ M*te notes......................................221 m*te trac', togg3e.............................44

e,ent 0ro0erties.......................123 &em0o Ma0.............................332 E,ent List >ie4......................223 Camed Cotes >ie4.................223 7iano 9o33 >ie4......................223
M.-. actions..........................234, 23( M.-. b*ses.....................................238 M.-. data, e;0orting......................237 M.-. dataA 14 bit............................224 M.-. -e,ice, insta33ing....................24 M.-. -e,ices.............................24, 7! M.-. editing, in-3ine......................2!7 M.-. Editor............................2!8, 21

C
Caming trac's..................................(( Ca,igation........................................3 Ca,igator..........................................38 Ce4 M.-. item, creating...............2!8 Ce4 7ro)ect......................................(3 C.CEAM........................................4!2 Coise @ate......................................27$ noise red*ction...............................281 noise s%a0ing..................................348 non-destr*cti,e editing...................112 non-standard stereo c%anne3s............(! Corma3 9ecord Mode.......................(( Cote C%anne3..................................221 Cote Cames....................................21$ Cote 7ro0erties.......................221, 222

CC Lane.................................213
M.-. Editor Modes........................223 M.-. Editor 4indo4......................2!7 M.-. Editor, Actions......................234

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1nde4
note st63es.......................................22( Cote0ad............................................28 n*dge item......................................114 C*dge/set items..............................118 7itc% S%i5ting..................................2$ 7itc%, c%anging...............................1 3 0itc%, 0reser,e in a*dio items.........1 7 73a6..................................................34 03a6 c*rsor, managing......................(2 03a6 3oo0 se3ection............................47 73a6 rate..................................388, 38$ 03a6 rate, ad)*sting 5or 0ro)ect........1 73a6 S0eed en,e3o0e.......................332 73a6 S0eed, a*tomation..................332 03a6bac' 0re5erences......................3 ( 03a6bac' rate..................................11$ 73a6bac' rate..................................11$ 73a6bac' 9ate, m*3ti03e items........1 7 73a6bac' 9ate, sing3e item.............1 7 03*g-in de3a6 com0ensation............1!( 73*g-in Essentia3s...........................271 03*g-in 0resets, bac'*0...................1!! 03*g-in 0resets, restore...................1!! 03*g-in, co06ing.............................1!1 03*g-in, noise red*ction..................281 2.73*g-ins.........................................3$ 7ro)ect 7re5erences...........................(3 7ro)ect rendering............................347 7ro)ect Sam03e 9ate.........................32 0ro)ect settings...............................3($ 7ro)ect Settings.........................32, 1(3 0ro)ect start time, setting................187 7ro)ect &abs......................................(2 0ro)ect tabs, m*3ti03e........................(2 7ro)ect &em03ate.........................($, ! 7ro)ect &ime Base, c%anging............33 0rom0t to sa,e..................................7 7*nc% 9ecording.............................. 1

/
/@@ >orbis......................................32 /0acit6.............................................(! /0en 5i3e, "# set o55 3ine..................42 /0en items D................................384 /0en .tems 4it% Editor...................111 /0en 7ro)ect.....................................31 /0tions men*.................................38! /SC 1/0en So*nd Contro32............2(8 /*t0*t A...........................................8( /*t0*t A3iasing................................23 o*t0*t "# monitoring.....................1!$ /*t0*t, recording.............................7( /,erd*bbing..................................... 1 o<<i5ier...........................................287

?
=*anti<e..........................................1(8 ?*anti<e.........................217, 22(, 233 ?*anti<e e,ents......................22(, 233 ?*anti<e se3ected e,ents.................22 ?*anti<e strengt%............................22 ?*anti<e trac' M.-. recording......227

7
7an contro3s......................................3( 0an 3a4.......................................33, 3 0an mode..........................................3 0an modes......................................183 0an trac', M.-.................................3( 0anic b*tton....................................227 0ara33e3 "# 0rocessing............3!(, 3!7 0arameter gro*0ing..........................$2 7arameter mod*3ation.....................333 0arameter mod*3ation, 3in'ing 0arameters..................................34! 7aste "#.........................................3$! 7aste .tems.....................................113 0attern se=*encer............................23$ 0ea' 3e,e3s, reset on >: meters......18 0ea' 3imiter....................................28 0ea's/4a,e5orms 0re5erences.........3 8 0enci3 mode....................................132 0er5ormance meter..........................37$ 7er5ormance Meter...................44, 3 2 0%antom 0o4er...............................4!( 7%ase ad)*sting ro*ter....................28 7%ase Ad)*sting 9o*ter..................3!7 0%ase contro3....................................3( 7%ase Contro3...................................3 7%ase in,erter.................................28 7iano 9o33...............................21$, 22 0in connector..........................2$2, 2$ 0itc% c%ange 03*g-in.......................288 0itc% correction...............................1 7itc% Correction.............................1 0itc% correction, a*tomatic.............1 0itc% correction, man*a3.................1 0itc% en,e3o0e................................1 3 0itc% mani0*3ation..........................1 4 0itc% s%i5t................................11$, 1 3 0itc% s%i5t 03*g-ins..........................1 3 0itc% s%i5t, M.-. contro33ed............24! 0itc% s%i5ting..................................1 4

Sa,ing 7resets........................... 7
03*g-ins 0re5erences.......................377 73*g-ins, enab3ing.............................2( 03*g-ins, M.-.................................23$ 03*g-ins, 0resets..............................28$ 0o0s and c........................................3! 0o0s and c3ic's...........................3!, ! 7re5erences.......................................22 7re5erences, a00earance.................3 7re5erences, a*dio..........................3 3 7re5erences, editing be%a,ior.........37! 7re5erences, en,e3o0es...................371 7re5erences, 5i3e im0orting...............73 7re5erences, @enera3.................31, 3(7 7re5erences, media.........................37( 7re5erences, M.-...........................37 7re5erences, mo*se.........................373 7re5erences, 03a6bac'.....................3 ( 7re5erences, 03*g-ins......................377 7re5erences, 7ro)ect........................3($ 7re5erences, 7ro)ect -e5a*3ts..........37! 7re5erences, rendering....................3 0re5erences, searc%ing......................83 7re5erences, >: meters..................3 8 7resence 9ange..............................273 7reser,e 7itc%.................................1 7 7reset Librar6.................................28$ 7reset Manager...............................28$ 0reset, sa,e as de5a*3t.....................27( 7resets............................................27( 7re,ie4 Fe6board..........................22! 0re,ie4 media item 0ea's................7 0ro)ect conso3idation......................34 0ro)ect 5i3e association....................2! 7ro)ect "i3e 7at%...............................32 0ro)ect 5i3es, m*3ti03e ,ersions........2! 0ro)ect 3engt%....................................33 0ro)ect management.......................378 7ro)ect Media/"# Ba6....................1$1 0ro)ect notes.....................................33

9
9atio...............................................278 ra4 M.-. data................................21$ 9eaCom0........................................27$ 9eaCom0 com0ressor.....................2$7 9ea-e3a6................................274, 2$4 9ea"ir.............................................281 [email protected]! 9eaMote.........................................4!2 9eaMote S3a,e...........................2$, 3! 9ea0er "i3e &60es.............................3! 9EA7E9 /0tions...........................38! 9EA7E9 Se3ections.........................1$ 9EA7E9 :ninsta33...........................3! rea0er-d;03*g-ins.ini........................27 rea0er-,st03*g-ins.ini........................27 rea0er.ini...................................27, 4! 9ea7itc%.................................1 4, 1 ( 9ea9o*te................................312, 3$3 9ea9o*te AS./ dri,er....................3$3 9ea9o*te, sending a*dio 5rom 9EA7E9....................................3$( 9ea9o*te, sending a*dio into Sonar ...................................................3$7 9ea9o*te, setting *0 a00s..............3$4 9ea9o*te, 4it% Ab3eton Li,e.........3$4 9ea9o*te, 4it% S6nt% 8or'stations ...................................................3$8 9eaSam03omatic.............................3!1 9eaScri0t........................................4!2 9eaS*rro*nd...........................3!$, 31! 9eaS6nt%.......................................... 7 9ea&*ne.................................1 (, 1 9ea>oice........................................24! 9ea#Com0.....................................282 9ecei,e 3e,e3s..................................43 9ecei,es.............................48, 7(, 3!8 9ecent 7ro)ects.................................31 9ecord........................................34, ( record additiona3 items..................... (

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Up and Running: A REAPER User Guide v 4.59

9ecord Arm................................((, ( record arm, a*tomatic.......................(7 9ecord .n0*t...........................38 , 4!( 9ecord mode....................................(( record modes..................................4! 9ecord M*3ti03e &rac's....................( 9ecord /*t0*t................................4!( 9ecording 5ormat.............................32 recording 5ormats, mi;ed..................78 recording on t%e 536..........................( 9ecording o*t0*t..............................7( 9ecording 7re5erences......................7 recording 0rob3ems.........................4!4 recording 4it% a ,irt*a3 instr*ment... $ recording, de5a*3t trac' settings........77 redo, store m*3ti03e 0at%s...............37$ region............................................... 1 region manager...............................1(2 region, co3oring..............................1(1 regions............................................3(1 9egions, creating............................1(1 9egions, 3oc'ing.............................18$ regions, rendering...........................348 9egistr6............................................2 re3ati,e 0at%names..........................3($ 9e3ease...........................................28! 9emo,e a33 "#...............................3$! 9emo,e a33 mar'ers 5rom 3oo0 se3ection.....................................382 9emo,e contents o5 se3ection.........383 9emo,e Se3ected "i3es...................378 9emo,e se3ected "#.......................3$! 9emo,e se3ected items...................384 9emo,e se3ected trac's..................381 9emo,e Se3ection...........................382 9ender items..................................144 render media items.........................3(1 9ender m*3tic%anne3 trac's............34$ render 0resets.................................3( render =*e*e...................................348 9ender se3ected trac's to stem trac's ...................................................1!( 9ender stems..................................34$ render time range............................348 9ender to "i3e dia3og bo;...............347 9endering...............................171, 347 rendering a 5inis%ed song................34$ rendering 0re5erences.....................3 rendering regions ...........................3(1 rendering, s*rro*nd 5ormat.............3( reset con5ig*ration to 5actor6 de5a*3ts .....................................................2$ 9eset se3ected en,e3o0e 0oints to <ero/center..................................387 9e,erse items.................................14( 9e,erse items as ne4 ta'e..............384 re,erse media item..........................11$ 9e4ind to start.................................34 9e4ire......................................18, 311 9e8ire....................................23$, 311 9e8ire s3a,e mode..........................2$ 9e8ire, 9EA7E9 as %ost...............311 9e8ire, 9EA7E9 as s3a,e.............311 9e8ire/-# ...................................377 9E# 5i3es........................................1 2 9E# 5i3es, 0re5erences....................1 2 9i003e Editing................................133 ro*nd-robin.....................................3!3 ro*ting............................................3!2 9o*ting.....................................48, 4!3 9o*ting E;am03es..........................2$1 9o*ting .nter5ace............................3!8 9o*ting Ma......................................(! 9o*ting Matri;...........( , (7, 3!8, 4!4 ro*ting 0rob3ems............................4!4 9o*ting 8indo4............................3!8 977 "i3es..........................................18 r*mb3e or %*m remo,a3..................281 S%o4 A33 &a'es in Lanes............ 3, 4 S%o4 a*dio con5ig*ration on start*0 2$ S%o4 a*dio %ard4are as so*rces......8 S%o4 Big C3oc'...............................3( S%o4 Master in trac' ,ie4.............382 S%o4 Ca,igator................................38 S%o4 o,er3a00ing items in 3anes...... 4 S%o4 03a6 rate contro3....................38$ S%o4 03a6 state as te;t...................38$ S%o4 Screen Sets...........................1$7 S%o4 &rans0ort................................34 sibi3ance.........................................27$ sidec%ain.................................2$4, 2$7 sidec%aining............................2$$, 333 si3ent 0assages, remo,ing...............137 s'i0 time se3ection............................47 S3i0 Editing....................................12 smart too3s......................................27! smoot% see'....................................3 ( SM7&E...................................3$$, 4!! SM7&E timecode generator............4!! Sna0 -istance.................................11 Sna0 o55set......................................11$ Sna0 to @rid...................................11 sna0 to mar'er................................14$ Sna0/@rid Settings..........................11 so5t4are s6nt%esi<er.......................4!4 So5t4are :0dates.............................18 So3o..................................................3( So3o -e5eat.......................................82 So3o .n "ront....................................83 Song 7osition 7ointer.....................3$$ so*nd card......................................3 1 So*nd Card Settings.......................4!3 So*nd S%a0ing...............................271 So*nd S%a0ing 73*g-ins.................272 So*rce Media Ba6..........................1$3 So*rce 7ro0erties............................123 So*rce 7ro0ertiesD........383, 38(, 38 S03it E,ents............................217, 221 S03it .tems......................................113 S03it items at c*rsor................383, 384 S03it items at time se3ection....383, 384 S03it .tems, +ea3.............................113 S03it notes *nder mo*se c*rsor.......221 S03itting C%anne3s..........................2$2 S77.................................................3$$ S77 Send........................................4!! Start Men* S%ortc*ts........................18 start time, mar'ing..........................187 start time, setting............................187 Starting 9EA7E9.............................1$ Stem 9endering..............................1!( Ste0 Se=*encer...............................218 stereo en%ancer...............................287 Stereo to Mono con,ersion.............122 stereo trac', recording......................(8 Stereo, re,ersing.............................122 Sto0..................................................34 Stretc% mar'ers...............................1 8 s*bmi;, rendering...........................1! S*rro*nd 0anner.............................3!$

S
sam03e 5i3e......................................3!1 sam03e rate.....................................4!4 Sam03e 9ate...................................3 2 Sam03es............................................4 sam03es, sa,ing..............................1 1 Sa,e c%ain as de5a*3t 5or ne4 trac's ...................................................3$! Sa,e 7ro)ect.....................................(4 Sca3e "inder....................................243 Sca3e :. E3ements..........................378 Screen Set.......................................1$7 Screen Sets.....................1$7, 1$$, 2!! screen sets, a*to-sa,ing c%anges.....2!! screen sets, 4indo4s......................18! Screen Sets, 8indo4s....................1$$ Screensets/La6o*ts.........................171 scri0ts.............................................2(7 scri0ts, im0orting............................2(7 Scro33..............................................38! scro33 trac' ,ie4...............................7 Scro33 8%ee3.....................................3( scro33, contin*o*s......................31, 3 ( Scro33ing...........................................37 scr*b.........................................$8, 223 scr*b settings....................................$8 scr*bbing..........................................34 Seconds............................................4 See' 03a6bac' 4%en c3ic'ed.............(2 Se3ect A33................................383, 3$! Se3ect a33 0oints in 3oo0 se3ection. . .387 Se3ect .tems....................................113 Send Master/7arent..........................88 send t60es.......................................2$( Send, creating...................................43 Sends............................43, 48, 88, 3!8 Sends de5a*3t settings.....................3 ! sends, adding to Mi;er...................17 se=*encer bab6...............................243 Set 0oint s%a0e...............................387 Set 0oint ,a3*e................................387 Set se3ection to se3ected items........382 Set s%a0e 5or a33 se3ected 0oints......387 Set &ime Signat*re.........................17! S%o4 A33 &a'es .n Lane..................141

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1nde4
S8S E;tensions.............................138 S6nc 0iano ro33 ,ie4 to 0ro)ect.......243 s6nc to e;terna3 de,ice...................3$$ s6nc%roni<e e;terna3 de,ice to 9EA7E9....................................4!! S6nc%rono*s "# m*3ti0rocessing...1!4 S6nt%esi<er....................................... 7 S6sE; messages.............................212 S6stem t4ea's................................378 too3bar, c*stom.........................37, 2 too3bar, c*stom en,e3o0e................32( &oo3bars............................................1$ too3bars, c*stom.............................2 $ &oo3bars, c*stomi<ing....................247 too3bars, e;0orting..........................2 8 too3bars, 53oating............................2 $ too3bars, im0orting.........................2 8 &o*c%.............................................318 &rac' C%anne3s...............................3!8 trac' co3or......................................1$ trac' co3or o0tions............................84 &rac' Contro3 Modi5iers...................82 &rac' Contro3 7ane...........................3$ trac' contro3 0ane3 %e30..................2!4 &rac' Contro3 7ane3 settings...........3 7 trac' contro3s............................21, 2!3 &rac' Contro3s..................................3( &rac' Contro3s, 3oc'ing..................188 &rac' de5a*3t settings.....................3 ! &rac' "#....................................38, $$ &rac' "# /rder................................4! &rac' "# 0arameters........................4! &rac' "#, co06ing..........................1!1 trac' gro*0ing............................$2, $3 trac' gro*0ing contro3s.....................$7 trac' inserts......................................38 &rac' Manager........................1!7, 1$( trac' 0an, *sing 5or M.-..................3( &rac' 7ane3 8idt%............................3 &rac' 7ane3s.....................................21 &rac' 7er5ormance /0tions............1!4 &rac' 9o*ting...................................48 &rac' &em03ate, .nserting.................($ trac' tem03ates................11!, 2!4, 324 &rac' &em03ates...............................($ &rac' >ie4 screen sets...................1$7 &rac' >ie4s....................................1$7 trac' ,o3*me, *sing 5or M.-............3( &rac' ,o3*me/0an, 3in' to M.-........82 &rac', Add Ce4 &rac'.....................43 &rac', co06.......................................81 &rac', de3ete.....................................81 &rac', mo,e......................................81 &rac'/Send -e5a*3ts.......................3 ! trac's, 5ree<e/*n5ree<e....................1! transient detection settings.............1(7 transient, e;tend se3ection to.........1(7 transient, mo,e c*rsor to ne;t.........1(7 transients........................................1( &ransients Fi33er.............................27$ &rans0ort........................................388 &rans0ort Bar...................................34 &rans0ort Bar, doc'/*ndoc'.............34 &rans0ort Contro3...........................4!( trans0ose M.-........................217, 233 treme3o...........................................28 &rim content be%ind media items....117 &rim items to se3ected area.............384 &rim .tems to Se3ected Area...........134 t*ner...............................................287 t*ning an instr*ment.......................1 (

:
:A- 03*g-ins.................................1!4 :. &4ea's......................................378 :ndo...........................................(1, 1 :ndo +istor6..........................3($, 4! :ndo +istor6 8indo4......................(1 :ndo +istor6, 3oad 4it% 0ro)ect 5i3e ...................................................37$ :ndo +istor6, sa,e 4it% 0ro)ect 5i3e (1, 37$ :ndo storage area.............................(1 :ndo/redo 0at%s, sa,e m*3ti03e........(1 *n5ree<e trac's........................1!7, 1$ :ninsta33 9EA7E9...........................2$ :ninsta33ing 9ea0er..........................3! :n=*anti<e.....................................22 :nse3ect a33 0oints..........................387 :00er Mid 9ange...........................273 :SB 53as% de,ice..............................28 :se 9*3er &ime :nit.......................388 *ti3it6 03*g-ins................................288

&
&a'e................................................383 &a'e command................................. 4 &a'e, ne;t......................................... 4 &a'e, 0re,io*s.................................. 4 ta'es, arranging..............................13$ ta'es, co3or coded............................. 3 ta'es, editing..................................13$ ta'es, en,e3o0es..............................33! ta'es, e;03ode in 03ace....................14! ta'es, e;03ode to trac's..................13$ &a'es, E;03ode to trac's................... 4 ta'es, im03oding.....................143, 144 &a'es, S%o4ing Lanes...................... 3 &a'es, S3ice and -ice.....................141 tem03ate..........................................3($ tem03ate 5i3e......................................(3 &em03ate, 7ro)ect..............................($ &em03ate, &rac'................................($ &em0o C%ange...............................17! tem0o c%anges................................17! tem0o detection..............................1(7 &em0o Ma0 En,e3o0e....................332 &e;t E,ents.....................................213 &%e .nsta33 /0tions...........................18 t%e Microso5t @S 8a,etab3e S6nt%... $ &%eme Editor..................................1$! t%eme, modi56ing...........................1$! &%res%o3d................................278, 28! &ime Based E55ects.........................273 time se3ection..................................11( time se3ection recording................... 1 time se3ection recording, 3oo0ed ...... 8 time se3ection, in media e;03orer......71 &ime Se3ection, 'e6board s%ortc*ts. .47 time se3ection, 3in' to 3oo0 0oints...11( time se3ection, modi56ing.................47 time signat*re c%anges...................17! &ime Signat*re Mar'er...................17! time signat*re mar'er, inserting.....1 1 time stretc%.....................................11$ &ime Stretc%ing..............................1 7 &ime-Based E55ects........................271 timebase...........................................32 timecode, inserting.........................4!! &ime-i55erence 7an........................284 &ime3ine...........................................4( &ogg3e 9e0eat...................................34 &ogg3e se3ected b60ass...................3$! &ogg3e se3ected o553ine...................3$! toni5ier............................................287 &oo3bar.............................................2!

>
>CA...............................................3!! >e3ocit6 +and3es............................21$ >ertica3 Scro33...................................37 >ertica3 Boom...................................37 ,ideo so*ndtrac'............................4!1 >ideo 8indo4................................4!1 >ideo/9E#/Misc 7re5erences.........37 ,irt*a3 instr*ment, recording 4it%.... $ >irt*a3 M.-. Fe6board............ , 3!1 ,oca3, 5attening or do*b3ing............287 >o3tage Contro33ed Am03i5ication...3!! >o3*me contro3s...............................3( >o3*me Contro3s...............................82 ,o3*me trac', M.-...........................3( >S& ...............................................377 >S& Com0atibi3it6.........................377 >S& "o3ders...................................1!1 >S& 03*g-in, generic inter5ace.......2$! >S& 03*g-ins............................2(, 271 >S&i 0atc%/ban' 5i3es....................... 7 >: 3e,e3s 03*g-in...........................287 >: meter 0re5erences.....................3 8 >: meters, reset 0ea's...................18

8
8A> 5ormat...................................34$ 4a,e 5i3es, im0orting........................73 4a,es%a0er.....................................288 4a,es%a0ing distortion...................287 8eb A*dio......................................34$ 4i3d cards 1in 5i3e names2...............34( 8indo4 53oat se3ected "#..............3$! 8indo4 screen sets........................1$7 8indo4 >ie4s...............................1$$ 8indo4s -e,ice Manager.............4!3 8indo4s 9egistr6............................2 8indo4s Start Men*........................2$ 8rite A*tomation...........................31(

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Up and Running: A REAPER User Guide v 4.59

#
#ena'ios E;tensions......................138

B
<oom in %ori<onta336.......................4!

Boom Se3ection...37, 4 , 13!, 14$, 382 Boom to &ime Se3ection...................47 Booming...............................3 , 37, (1

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